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Full text of "NewTekniques - Volume 1 No. 01 (1997-04)(Advanstar Communications)(US)"

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Reviews! RenderFX, AV8R, Audio Thunder, AVILoad 2.0, and more 






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iril 1997 

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3D Animation Power ¥>u 
Can Sink^bur Teeth Into 

From broadcast television and the Internet to feature films and special 
effects, LightWave 3D has features and ease that power-hungry 
animators love. 
But (hen. what would you expect from one of the most powerful 
animation packages in the industry? Its rendering quality is without 
peer. Its accessibility is the broadest on the market, making it 
a solid choice for everyone from the novice to the most 
accomplished Hollywood pro. 

And LighlWave 3D's feature set is enough to take your breath 
away — ray tracing, motion blur, depth of field, variable iens settings, 
and MetaNURBS. Rendering is lightning fast with sharp, impeccable 

images time after time. And its robust plug-in architecture makes it a snap to add 
on a host of other specialized capabilities. 

What's more. LightWave 3D offers full compatibility with practically any 
platform you're likely to use. Add in an intuitive, easy-to-use interface — and 
consequently, extremely short learning curve — and it's not hard to under- 
stand why LightWave 3D is in more Hollywood animation suites than 
any other 3D program. 

But if all that isn't enough, check out the price — a fraction of what 
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All trademarks ond registered trademarks ore the sole properly ol tdeir respective owners. tightWove 3D is o trademark ol Newtek, Inc. § Copyright Newtek, Inc., 1 997. 

Circle #247 




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WaveFilter Deptrtl' - s 180™ when sold separately 

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Circle #202 

Digital Domain: 

Adventure on the 

High Seas 

by Dick De Jong 
and Molly Dinkins 



Waves: Star Trek Tips for Better Planets 10 

by John Gross 

Lightwave 101: LightWave Does DNA 26 

by Scott Wheeler 

Flying High: Flyer Clips & LightWave 3D 

— A Powerful Mix 30 

by Joe Tracy 

Mojo: Last Word— The Special Edition 80 

by Mojo 

Forget cloning- 
create your own ' ""- 
DNA with j - ftp 
LightWave 3D. 


This month's cover was created by AristoMenis 
Tsirbas, one of a group of LightWave 30 artists from 
Digital Domain |see page 14). The skull is a 
MetaNurbs object surfaced with Gaffer far its double 
specular. Ray-traced reflections and overlapping 
shadow maps were used to enhance realism. 



Effectors 1.1 50 

by Roger Vetruba 

Club Toaster 


Library 50 

by Bob Ketchum 

WaveFHter fJet+ . . 51 

by Dave Thomas 

AVILoad 2.0 51 

by John Campbell 
6 Gordon Keenan 

WaveNet Pro 52 

by Mike Masses 

RenderFX 52 

by Mario Cascio 

AV8R 54 

by George Paramitbas 

Audio Thunder . ... 54 

by James Rainey 

TekTalk 4 

Our Editor's opinions on 
issues of concern to you 

Ask NewTek 6 

Your chance to question 
NewTek staff directly 

Short Takes 8 

News of note from the 
world of NewTek and 

Tekniques 12 

Author- and reader-submit- 
ted tips and techniques for 
using NewTek products 

Renders 49 

Artwork contributed by our 

Premieres 56 

New products take a bow 
on our stage 

Surf Report 59 

A round-up of online 
resource sites 

April 1997 Hf-wTERMlDUES I] 3 





Meeting the information 
needs of the NewTek 

users community 

In late October and early November of 1996. Advanstar Communications and NewTek 
started dreaming about a publication that could meet the information needs of all 
NewTek product users while delivering powerful tutorials, reviews, tips, and techniques. 
The meetings came after the surprise announcement by another company that Video Toaster 
User (of which I was editor-in-chief) and LighWavePKO were being shut down. 

At Advanstar, plans to fill the void were just 
beginning as this new magazine was crowned 
with a name reflective of the content— 
NewTekniques, With great support, the only 
thing NewTekniques lacked was the staff In 
December. I was offered the position of editor- 
m-clnef. Because my life has been dedicated to 
teaching others about the power behind 
LightWave 3D, the Video Toaster and the Video 
Toaster Flyer, my "yes" reply came without 

We have brought the most powerful people in 
the industry together for NewTkkniques. John 
Gross, former editor-in-chief of IMPto and co- 
owner of Digital Muse, was brought on as 
NewTekniques' senior technical editor and 
columnist (see "Waves"). Scott Wheeler, well 
known for his animation work with "The X-P.les" 
and "Space: Above & Beyond" will share his 
expertise in the "LightWave 101" column. Mop. 
an animator from Foundation Imaging, shares 
his perspectives in his "Mojo" column. You'll find 
NeivTefajcjues' writers to be top professionals 
who regularly use NewTek products. The most 
important addition to the magazine, however, is 
you. Now that you have come on boaid, the 
dream of NewTkkniques is a reality. 

LtghtWave Sinks thelitanic 

This month is the 85th anniversary of the sink- 
ing of the Titanic. It is a story that is regaining 
widespread publicity through the TV mini- 

4 II NewTekniques April 1997 

series that aired last November and the upcom- 
ing Titanic movie by James Cameron. Even 
though the TV mmi-series and movie ate by dif- 
ferent companies, directors and producers, 
there is one major thing they share in common 
(besides the Titanic sinking): LightWave was 
used to create the effects, including the ship, in 
both. Digital Muse did the effects for the TV 
mini-series in which even the people on the 
sinking ship were LightWave created and ani- 
mated. The effects for James Cameron's 
Titanic, due this summer, wete created with 
LightWave by Digital Domain's NT Team (see 
this month's feature). LightWave is everywhere, 
and NewTekniques will be along for the nde. 
Throughout our adventure, your opinions, sug- 
gestions, and comments will be of great value 
to me. Please don't hesitate to e-mail or call me 
if you have something to share in regards to 
NewTekniques. My email address is and my direct phone 
number is 541-673-4342, 1 value your input and 
am honored to be serving you in this capacity. 
While NewTekniques magazine works in close 
association with NewTek, it is an independent 
publication of Advanstar Communications, 
dedicated to providing you with the best infor- 
mation, support, news, tutorials, and tech- 
niques available. 

Yes. the dream is a reality and you are hold- 
ing it in your hands. 

< ^*- J^? 

,',l)il)!-' .ANSWlt. 



















NewTekniques, 201 I. Sandpointe Avenue, 

Suite 600, Santa Ana, CA 32707, OSA 

EMAIL, Tel: (714) 513-8400 

Fax: (714)513-881 2 



Elika Sn:li-.a-j! 


Eliiabeth Blume 


[SOW 822-667! 

Han; Dark 

FAX (541] 686-5731 



Glenn A Rogers 


Frank UnldslarJ 


Michael t.Waldon 




Colette O'Bcntiell 


Michael I. Weldon 


Francis Held. Jr. 


Peggy Olson 


L EtiiolmtuigiD 


(IOD r 34G-u035ei;.#t7T 
I21IJ723S17]- Outside U.S.A. 

ninEcroR. intehmahqiuluceksing 

Man/ E. Abiod 
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VICE PRESIDENTS Alei Oibaii, Kevin J. Cardan. Brian langille. Ciena A. Rogeis. 

and Phil Slmta 


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© &j MflWta tBirmuaialions All rights [tftrred. Fepradnckinn in parUrwholE vnlhiiiitwntten 
peirnissitin is slrictrj proliiiiiei auOiQriiBtirjri tc phniEcopy Jlems-IarintBrnal dirpErsarijl J^eis grant 

d dt flifffinslar EonnrtniiHtmas Inr libraries and Ihnse regisEerad wlh ijis Crjppigbl De^rance 
Ceniu 211 Hhium- Driie, Dangers. WA 01923. Parent ol appropriate laes must be ™Je U Ite 
CDC Call 1501) 750-01113 far rflp|ifig bwnd Lhat pensiled by seclians 107 or 108 d Uie US. 
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Printed in the U.S. A 



Club Toaster is the monthly CD- 
ROM filled each month with new 
Wipes, Backdrops, Color Fonts, 
Music, Sound FX, Textures, Anima 
tions, and Moving Backdrops. 

Fly FX is our newest package for 
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Amiga 2000 
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If you prefer send your video request to: 

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m^^ y/ 

If you have a question you would like 

to ask NewTek, mail it to: 


Ask NewTek 

1038W. HaniardBhid. 

floseburg, OR 97470. 

Ydu may also e-mail your questions via 



When your Toaster/Flyer lor 
. the PC is available, will I be 
able to port over items like 
my Flyer drives and Flyer 

Specifications for any new 
Toaster products are not 
finalized and at this point we 
can't say. As always we will 
do out best to accommodate 
current Toaster/Flyer users in 
all new products. 

- Harold Russell, Video 
Product Manager 

Ql've heard rumors of a Flyer 
. HQ6 mode in the workings, 
How much better will this be 
then Flyer HQ5? 

A Yes, HQ6 will be in the next 
Video Toaster Flyer release. 
HQ5 and HQ6 have the same 
exact picture quality. With 
HQ6, however, you can 
record more detailed infor- 

- Harold Russell, Video 
Product Manager 

QWill you be providing a means 
. for Flyer owners to covert 
VTASC video clips to a CD- 
ROM viewable format? 

We do not have this in the 
works. Call customer support 
at 1-800-TOASTER to find 
out third party product man- 
ufacturers that may be work- 
ing on this, 

- Harold Russell, Video 
Product Manager 

Do the same LightWave 3D programmers do the coding for each 
, platform LightWave is ported to or do you have separate 
programmers for each system? 

All the programmers work on each version. Most platforms will get 
the LightWave 5.5 upgrade in roughly the same time period. 

- Brad Feebler, LightWave Program Manager 

What can I do to get around the jaggy edges in the OpenGL 
. display of the Layout under NT 4.0? 

Currently LightWave has no options for anti-aliasing the OpenGL 
display. The product team has not made any statements as to 
whether such a feature would be feasible or if it is planned for 
future versions. With a very high resolution monitor you can fool 
the eye by running LightWave on a hi-res screen and shrinking 
the interface. The image is not really any smoother, however. 

- Brad Feebler, LightWave Program Manager 

I'm using the Flyer 4. 1 software, but have heard that there have 
, been updates all the way to 4.1d. As a registered user, how do I 
get these updates? 

Registered Flyer owners were shipped version 4. IB software on 
CD-ROM and a diskette. There have been updates since then, and 
these have been posted to our online services where dealers and 
users can acquire them. If you have Internet access, you can 
locate the files at, or you can go to, navigate to the Technical Support page, and 
select updates that you need from the Software Updates page. 

If you have a modem, you can call the NewTek BBS at 
913-271-9299, and download the updates from our Flyer files 
area. CompuServe users can "Go AmigaVend," and get the 
updates from Library 3. the NewTek library in that forum. AOL 
users may use "Keyword NewTek" to locate our file area and get 

If the user has none of the above options, then the user should 

contact his or her dealer for updates. 

- Chuck Baker, Technical Support Manager 

6PwTiiwiiiues April 1997 




In the Toaster Setup menu there is a 
Video Input Termination column with the 
four inputs highlighted. What does this 

Video signals must be terminated at the 
end of a chain, just as network or SCSI 
signals must be. If video is fed directly 
into an input on the Toaster, then the 
video signal must be terminated. 

For users of Toaster 2.0 that information 
is documented on page 27 of the 
Switcher reference section; for 3x users, 
page 13 of Switcher reference. In review- 
ing the 4.1 manual, I was unable to find 
any reference to these controls and will 
notify our documentation writer regard- 
ing the oversight - Chuck Baker, 
Technical Support Manager 

If I wanted to apply for a job with 
NewTek, where would I send my resume 
and get job information? 

Mail a resume in care of Human 
Resources to NewTek, 1200 SW Executive 
Drive, Topeka, KS 66615. You may also 
fax it to 913-228-8099, 

When trying to play back a Flyer project, 
>• the system sometimes says that my audio 
drive is missing, but it isn't. Yet when I 
click on an audio clip, the clip plays line. 
What would cause this error message? 

This error message will appear in a number of circumstances, 
and in neatly all these cases the Flyer is picking this message 
to display because it does not have a more accurate error mes- 
sage for the failure. 

This error can occur if the audio drive is not completely initial- 
ized when the Flyer initializes. The Flyer does not think it has 
an audio drive, in this circumstance. This is common if the dri- 
ves are powered up at the same time as the host computer 
which contains the Flyer. The drives should always be powered 
and spun up before the Flyer system is powered up. If the video 
and audio drives are actually housed in the host system, then a 
warm boot should be done once the system has done a com- 
plete cold boot. 

This error can also occur when there is no room on the audio 
drive for a temp file that must be copied for a split audio edit. 
Due to a problem in the Flyer file system which affects audio 
drives, temp files do not clear from audio drives. The "voidall" 
command, which clears temp files from video drives, does not 
work on audio drives. The end result is that an audio drive can 
seem to have plenty of room, but is actually full. The only solu- 
tion at this time is to temporarily move the audio clips to a 
video drive, reformat the audio drive, then move the audio files 
back to the audio drive. 

Another possibility is that there is corrupt data on the audio 
drive This will confuse the Flyer software, and interfere with 
sequencing. This can be resolved by moving those clips which 
are not corrupt to a video drive, and reformatting the audio 
drive. Clips which do not work in a sequence are most likely cor- 
rupt. Clips which cannot be copied from one drive to another are 
definitely corrupt. A clip which can be copied is not necessarily 
intact, though, so check carefully for faults before copying. 

Some drives do not seem to reliably deliver more than one 
audio clip at a time in a sequence. Adding a second audio 
drive will insure capability for the Flyer's full complement of 
audio tracks . 

One other potential cause is something of a puzzle to us. Audio 
or video drives will sometimes produce error messages if they 
have a tooltype set in the icon file. On the Workbench screen, 
click once with the left mouse button on the Flyer drive's icon, 
and then select "Information" from the Icons menu. If you see 
the Default Tool entry, "SYS:System/Diskcopy," remove the 
entry, hit return to exit the gadget, and then click the Save 
button. - Chuck Baker, Technical Support Manager 

April 1997 NwTekkiiiu[s||7 




ID 5.! 

Is Here! 

Drags On 

The liquidator fnc the sale ol" 
the Amiga had hoped to 
make a final decision on 
the new owner by Febmary 28, 
1997, Ibal day came and went 
without such a decision. Ibe 
decision was apparently pot oil 
another two weeks (lo mid- 
March). IJo decision was 
announced in tins for publica- 
tion. Although the Amiga situa- 
tion has been in turmoil Ini years, 
onits continue to be produced 
and sold e'.en thioogh the liqui- 
dation process. Even Newtek 
reports hettei-lhan-expected 
Toaster/Flyer sales. 

One of MewTek's big NAB 
demonstrations was 
Lightwave 3D 5.5, 
which not only contains 
many new features, but also 
a new graphic user interface 
design. The changes were 
made to include a highly 
interactive workspace for 
animators including real 
time texture mapping, and 
visual feedback on displace- 
ment maps and other object 
attributes. LightWave 3D 
5.5 will also have a multi- 
threaded rendering engine, 
particle effects, new lighting 
engines, tools for organic 
modeling, a scripting lan- 
guage for modeling, anima- 
tion, and shaders. It will also 
have Morph Gizmo, a tool 
for quickly creating lip sync 
and facial animation. The 
integration of modeling and 
animation tools has also 
been enhanced to stream- 
line the workflow of anima- 
tors. LightWave 3D 5.5 will 
ship sometime in May or 
June for Intel with other sys- 
tem upgrades to follow. 
NewTek also demonstrated 
LightWave 5.5 for Sun 
Microsystems, which will 
also ship shortly. 

Bob Hood Joins NewTek 

Bob Hood, founder of Virtual Visions, Inc. and creator of many 
popular LightWave 3D plug-ins, has joined the LightWave 
team at NewTek. In early March, NewTek announced that 
Hood will be taking over development of Lightwave's plug-in 
SDK, including designing SDK features, documentation, and 
offering third-party developer support. Hood will be working 
closely with Lightwave's core developers and outside third-party 
developers to define future directions for the plug-in interface. 
NewTek has also purchased the rights to Hood's acclaimed 
LightWave 3D Modeler BML product, which will be bundled with 
future versions of LightWave. Hood will continue to enhance BML 
in order to provide LightWave with tightly integrated scripting 
facilities for developers and users. 


company located in Santa Liana. CA. 

the 130 to HO fighte shots lor the 

Trimark Pictures' Ik Warrior ol Wamiy 
Street movie is just now bitting tbeateis 
wilb over 1 0D LightWave 30 effects, ranging 
Iron a Mather Ship to light beams and laser 
blasts. Behind the LightWave effects are seven 
artists and animators bom Computer Cale, a special 
According to Computer Cale President David Ebner, I 
movie were created in lour months using lour Alpha systems, the total length ol the project, including 
revisions and wireframe removal, was a (ear. Ik Warrior olWmrly Street is a science fiction adven- 
ture about a distraught 12-year-old hoy who sees a meteor crash and discovers a special Cyhersuil that 
leads him on Itie adventure ol a lifetime. Some artists al Computer Cale call the film a cross between U. 
an t [lose [ncomleh ol \k Herd KM. Ik Warrior si lllamlf Street is just a sm a II part ol Com p uler 
Cale's wDik. Another movie, Sprung (due out in theaters this month), also contains LitjhUVave lootage 
from Computer Cale. Animation lor broadcast television and commercials are two mote ol the team's 
specialties. Computer Cafe has heen working no boildiog a niche by offering high quality anim 
' price tag. 

H'.ivTeknioub April 1997 


LIGHT-ROM 4, a 2 CD-ROM set for the 
Amiga, Mac, Windows/NT features all 
new Lightwave objects and scene files. 
The bonus CD-ROM is 3,000 Jpeg 
Textures, a $29,95 value. 

"UGHT-ROM 4, a wonderful collection 
of models." David Hopkins -3D Artist 
Issue 27, 1997 

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ROM 3. Each issue of LIGHT-ROM (LR) is built 
upon the previous issue. LR1 had 2,300 
Lightwave objects, LR2 had 3.700 Lightwave 
objects and LR3 bad over 6,000 Lightwave 
objects. LIGHT-ROM 4 starts over with all new 
objects than what is found on UGHT-ROM GOLD. 
All of the Lightwave objects and scene files are 
represented with thumbnail renderings for easy 
previewing. The categories of Lightwave objects 
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Furniture, Holidays. Groceries, Logos, Music, Robots, Ships, Sports, Space, Toys, 
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Featured Lightwave Artist... MICHAEL SEALS found on Light-Rom 4 

You may receive a FREE copy of LIGHT-ROM GOLD or LIGHT-ROM 4 by contributing to a future issue of UGHT-ROM. Your work will remain f 
your own, you are only agreeing to allow Graphic Detail Inc. to publish your work. You may contribute to other collections if you wish. You 
may place whatever restrictions that you choose on your work in the text file that will accompany your work when it is published. 

Your contributions must be your own original Lightwave creations (objects and/or scene files) and can be of any subject matter. Any work I 
based upon work that is protected by copyrights and/ or trademarks can not be accepted. Your contributions are subject to approval and if 
not approved, will not be used. Notice of approval usually takes two weeks. Approval will be determined by originality and quality. 

Please take the opportunity to promote yourself, your company and your services in the text file describing your work that will accompany 
your contributions. Several people have received job offers based upon their work being seen in LIGHT-ROM. 

Submit your work to the address in this advertisement on floppy (Amiga double density / PC high density), Zip disks or make 
arrangements to send your contributions by email. If you have any questions, please feel free to call. 


DEM-R0M contains over 1,000 digital elevation 
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Circle #204 



planets with 
UghlWave 3D 

"Star M'Tips 


It certainly feels like a long time since I've sat down and written a LightWave column. For those of you 
not familiar with me, let me introduce myself and give you a little background. 1 started my comput- 
er graphics career in Minneapolis in the beginning of 1990 when I borrowed $3,000 from my parents 
and bought myself an Amiga computer. At that point, I gave myself five years to get out of the swim- 
ming pool business (where I had been for about eight years) and into computer graphics. 

Transparent edges and a 

"star fader" are used to 

achieve the look of Star 

Trek planets like this one. 

The atmosphere object is 

sized slightly larger than 

the planet object. 

For 3 1 Okm diameter 

planet a site value of 

10004 works well. 

About six months after pur- 
chasing my first computer, I began 
interning at Alpha Video, a local 
video/graphics company, and 
quickly became the (soon to be 
released) Video Toaster/ 
LightWave expert The main rea- 
son I became involved with them 
was because I saw Allen Hastings 
demo LightWave at a Chicago 
Ami-Expo and I knew I had to get 
into this program. Working at 
Alpha Video would enable me a 
chance to buy a Toaster (and 
therefore LightWave) at a good 
cost, or so 1 hoped. 

Well, I worked hard and quickly 
became indispensable at Alpha 
Video (by the way, that's always a 
good way to get ahead in business) 
and soon they offered me a full 
time position. I naturally accepted 
and said goodbye to my career as a 
Residential Aquatic Engineer for- 
ever. So far, so good — I was four 
years ahead of my five-year plan. 

I worked for Alpha Video for a 
bit doing flying logos and what- 
not for production clients while 
also doing a lot of training for the 

Toaster and LightWave. Soon I 
was flying around the country 
conducting training seminars 
with a friend, Lee Stranahan. 

All during this time, I had built 
and nurtured a relationship with 
NewTek and when the "seaOuest 
DSV" project came about in the fall 
of 1992 and LightWave was chosen 
for the graphics, NewTek flew me 
out to Hollywood to do some train- 
ing. About a month later, I was 
hired by the "seaQuest" graphics 
division and came out to 
Hollywood in January of 1993. 

After a year of doing 
"seaQuest," Amblin Imaging was 
officially formed and I became the 
co-director of "special projects" 
(basically I was responsible for 
anything :hat we did that was not 
"seaQuest"). We soon took on the 
"Star Trek: Voyager" pilot project 
where we were responsible for cre- 
ating the first-ever (and oftenused) 
computer-generated Federation 
ship. The Voyager ship turned out 
so successfully that it was often 
(and still is) mistaken for the real, 
practical model. The special effects 

for the "Voyager" pilot turned out 
so well that we won an Emmy 
award for it. 

At the end of 1995, "seaQuest" 
was canceled and Universal 
Studios, half-owner of Amblin 
Imaging along with Steven 
Spielberg, decided that they did 
not want to keep funding their half 
of the company. They decided to 
shut down Amblin Imaging and 
lay off all of the animators and 
staff (by then about 15 people). 

John Parenteau (who at the 
time was Vice President of 
Amblin Imaging) and I decided 
that we wanted to form a new 
company to carry on where 
Amblin Imaging left off, but with 
more interest in doing film work. 
We talked to Steven and asked 
him if he would still be interested 
in continuing a relationship. He 
said absolutely yes, and in 
February of 1996, our new compa- 
ny, Digital Muse, was born. 

In one short year, Digital Muse 
has expanded to 26 employees 
We now create effects for televi- 
sion and film and ate currently 

10 NrwTlimillUES April 1997 

doing all of the effects work for "Sliders" plus 
effects for "Star Trek: Voyager" and "Deep 
Space Nine." We did the effects for the 
"Titanic" mini-series that aired in November of 
1996 and we are currently working on effects 
for an Al Pacino/Keaunu Reeves film called 
Devil's Advocate. We are also working on a 
number of other projects that cannot be dis- 
cussed at this point due to non-disclosure 
agreements- Of course. 99 percent of the 
effects work we do uses our favorite 3D pro- 
gram, LightWave, to create the magic of Digital 
Muse. We run LightWave on our 33 DEC 
Alpha-based Cartera workstations. A Quantel 
Henry helps round out the 2D side of things. 

While in the middle of all of the above, I 
also found a bit of time left over to help found 
and edit LightWavePHO, a LightWave journal 
for LightWave users that was published for 
three years. Unfortunately, LWPRO was can- 
celed in October of 1996 along with Video 
Toaster User shortly after being purchased by 
a larger company. 

So now that you have the lowdown on me, 
let's talk about the purpose of this column. 
"Waves" is going to be a lot of different things. 
Sometimes I'll answer questions from users; 
sometimes I'll rant and rave about things; 
sometimes I'll give you the latest LightWave 
news and gossip and sometimes I will perform 
tutorials. This column content is basically 
determined by you. the readers. Your com- 
ments, questions and critiques will help guide 
it and steer the direction of where we go. Of 
course, it will always have something to do 
LightWave in some way, shape, or form. 

Because this column is about LightWave 
3D, here are a few LightWave tips and tricks 
for making patented "Star Trek" planets: 

Early on in the process of making planets 
for "Star Trek," 1 had a talk with Dan Curry. 
Effects Producer for "Star Trek: Voyager" and 
"Deep Space Nine," on the look of "Star Trek" 
planets. He gave me the following guidelines: 

• Stars should always fade away towards the 
surface of the planet. 

• Planet suifaces should always blur into the 
horizon as it gets farther away. 

• The edge of the atmosphere should blend 
into the planet and not be hard-edged. 

rager — turr 

ic i rat , 


So, with these in mind, here's the basic 
steps you can use to create planets the "Star 
Trek" way: 

• Create a sphere m Modeler to represent the 
planet. I use a sphere that consists of 20,000 
polygons and measures 10km in diameter. I 
know that this isn't to scale, but believe me, 
there are times you do not want to model to 
scale. Planets and DNA strings are two 
good examples. Change the surface name 
of all polygons to "Planet" and save this 
object as Planet.lwo. 

• Create another sphere m another layer with 
a lower polygon count (try 5,000) and size it 
ever so slightly larger than the planet 
sphere (try 1.004). Flip all the polygons 
inwards, change the surface name of all 
polygons to "Atmosphere" and save this 
object as Atmosphere. 1 wo. 

• Copy your Atmosphere object to another 
layer. Flip the polygons outwards and 
change their name to "Clouds". Size this 
object down slightly so it is smaller than 
the Atmosphere object yet larger than the 
Planet object (.998 will work well). Save 
this objects as Clouds. lwo. 

• Again, copy your Atmosphere object to 
another layer Make sure its polygons are 
flipped inward and label the surface name 
as "Star Fader". Don't worry about resizing 
this object, we will scale it in Layout. Save 
this object as StarFader.lwo. 

• Load (or import) all of the objects into 
Layout and parent all of them to a Null 
object. Also load your favorite stars object 
into Layout. 

* Give your objects some surface values 
Fractal Noise is quick and dirty and works 
fairly well for planets and atmosphere, but 
great planets generally use image maps. 
Make your atmosphere somewhat lumi- 
nous (and transparent) and the Star Fader 
object completely black with no 
Luminosity or Diffuse levels. The clouds 
can be simple Fractal Noise transparen- 
cies. Make sure to turn Smoothing on for 

* The reason why I use inward facing polys 
for the atmosphere and the Star Fader is an 
old Allen Hastings trick. This way, you 
won't see any of the object if you look 
straight down on it, but will when you see 
it "on edge" at the horizon... just like real 

• The real key to getting the right look to the 
planet and atmosphere is to use 
Transparent Edges and adjust your Edge 
Threshold for the surfaces, You will have to 
really play with the values to get the right 
look for your individual shot. Just remem- 
ber that the Edge Threshold value ranges 
between and 1.0 (values over 1 have no 
additional effect). Use Transparent edges 
for the planet, the clouds, the atmosphere 
and the Star Fader objects. 

• Size your Star Fader object so it is a good 
deal bigger than your planet and atmos- 
phere and play with the size and Edge 
Threshold to get the stars to fade away as 
they get close to the surface. 

That's about it. Render some tests and 
adjust your surface values until you get a nice 
soft edged planet look. Now you're making 
effects for "Star Trek!" 

That's it for this time around. Don't forget to 
send in comments and questions! 

John Gross is co-founder and partner of Digital Muse, 

a Santa Monica-based visual effects 

company specializing in film and television effects. 

He can be reached online at either or jobn@dmuse. com 

April 1997 NiwTekmiies 11 

Bypassing logon for lightwave NT Users 

II you have a li ghlWave 3D, 
Video Toaster, or Vidso Toastei 

Flyer lip or tannin, ue that you 
Ihink other readers will bene- 
fit fro in, lh«n send illo 
'Imliiniijuss lor 
publication co nsidereben. 

If the lip is useful, and wasn't 
already sutaittsd or planned 
foi use by a columnist, then 
your tip will be published and 
you will be given credit along 
witfi a S3S check 

Send lips Is Tekaiques, 

Mefcniques Magazine 

1Q3B W. Haaiard Blvd. 

Roseaurp,. Dfl 97470 
or e-mail your technique to 

A large number of Lightwave 3D users now 
use Intel and Alpha workstations running 
under the Windows NT OS, If you're a soli- 
tary animator, or a small studio, one disadvan- 
tage of using 
NT is that to 
start using the 
computer, you 
have to logon to 
the system. You 
must press the 
keys, and enter 
a password. 

Even if you 
reboot after 
installing soft- 
ware, you still 
have to go through the logon procedure. This is 
the price you pay for having a secure OS. While 
the logon sequence can't be disabled, it is pos- 
sible to enable autologon, and bypass ctrl-alt- 
delete altogether. You should be aware of a few 
things before carrying out this procedure. 

If you're not currently logged on as 
Administrator, and tape backups have been 
made under your current profile, it is strongly 
suggested that the backups are restored, and 
then backed up under the Administrator profile. 
Why? Because once the registry edit has been 
performed, only the Administrator account will 
have full access to system resources under NT 
Files backed up under a different user profile 
cannot be accessed as there is no way to logon 
to that account. 

Please Note: Modifying the NT registry can 
cause your computer to lock up, and/or total sys- 
tem software failure. Neither the authors, or the 
publishers of NewTekniques can accept any 
responsibility for any damage that may occur to 
your computer by editing your System Registry. 
You perform this technique at your own risk 

For NT 4.0 users: 

1 . Log on as Administrator. 

2. Go to the start button. It's normally located at the bottom left 
hand side of the screen. 

3. Select run. Type in REGEDIT, then click on the OK button. 

4. You are then presented with NT 4.0's Registry Editor. On the left 
hand side of this window, you'll see around six folders. The one 
we want to look at is HKEY_LOCAL_MACHINE. We'll have to 
navigate our way through several sub-folders to get to the one we 
are interested m, 

5. Double click on HKEY_LOCAL_MACHINE. 

6. Open the Software folder. 

7. Open the Microsoft folder. 

8. Scroll down to Windows NT Open that folder, then double click to 
open the Current Version folder. 

9. Use the scroll bar to go down to WINLOGON, and double click on 
the folder. 

10. On the right hand side of the screen, you 11 see what's called 
REG_SZ variables. We need to add two variables to this list. 

11. Go up to Edit and use the mouse to highlight New, then String 
Value. This will create an entry on the right hand side of the 
screen called New Value #1. The text around this entry should be 
highlighted, which indicates that it can be edited. 

12. Simply hit the Delete key and type: AutoAdmin Logon, followed by 
pressing the return key twice. The value appears to be case sensi- 
tive, so ensure that it's typed as shown. 

13. An edit string window pops up which should contain the value 
name AutoAdminLogon, and is now looking for a value data 
entry. Type 1, then hit the return key. 

14. Repeat step 11. 

15. Use the Delete key to erase the highlighted text, then type 
DefaultPassword. Press the return key twice. 

16. The edit string window appears. In the Date Entry field, you need 
to type the password that you use to logon. For example: if I used 
F/X 24 as my password, then that's what I'd type, followed by 
return. This entry is case/number/space sensitive, so please make 
sure it's 100 percent correct. 

17. Finally, exit the editor either by going to Registry\Exit, or by click- 
ing on the Close button on the top right of the window Either of 
these actions will automatically save the registry data. 

12 NewTekhiQWES April 1997 


Restart your PC. The easiest way 
to do this is by using ctrl-alt-delete 
and pressing the LOGOFF button. 
If all went well, your PC should 
have logged off and re-iogged 
back on automatically, without 
asking for ctrl-alt-delete and pass- 
word to logon. If not, double check 
your case sensitivity, spacing, and 
numbers (was that an or a 0...?). 

You can always remove this edit 
by simply following the relevant 
steps above to get to the WINLO- 
GON folder, highlighting the 
REG_SZ keys with your mouse, 
and selecting Edit/Delete in the 
Registry editor. Exit the Editor, and 
you should be back to your original 
starting point. 

Eliminate flyer Refresh 
lime by MAfiio cascio 

When recording a lot of clips, 
from the Project/Files view, 
into the Flyer at one sitting, 
make sure a directory, other than 
the one you are recording to, is 
selected. For example, before 
recording clips, select a folder like 
the "Effects" folder, then Tecord 
clips as you normally would. When 
you have "Flyer A0, Flyer BO, or 
Flyer CO" selected and you record 
to that video or audio drive, the 
Flyer takes time to refresh- after 
each recording. The time you save 
by not having the drive selected is 
especially noticeable as your drives 
fill up with more than 50 clips. 

Getting Better Flyer Sound 


One of the biggest challenges to 
Toaster/Flyer operators is making sure the 
quality of audio meets the same high stan- 
dards of video quality afforded by the Flyer. 
It's certainly no secret to Flyer users that audio 
support on the current system is somewhat 
lacking, but there are ways of working around 
these shortcomings. 

While indispensable programs like Co-Pilot 
Audio from OZwaie and ProMix from ProWave 
give you the capabilities of combining audio 
tracks, adding audio to animation/video clips, 
importing, exporting and converting multiple 
audio formats, these particular recommenda- 
tions are geared toward actually loading audio 
files onto your audio hard drive. 

Traditionally, audio has always been consid- 
ered "second fiddle" by television and video 
people. With the advent of digital audio, how- 
ever, even the dullest pair of "tin ears" can hear 
distortion and other unpleasant audio artifacts. 
Clients are starting to ask, "Why does my audio 
track sound so lifeless? Can you make the 
music sound better coming out of the TV 
speaker? Why does the narrator's voice 'sizzle' 
and 'pop'? How come there's so much 'room 
noise 1 in my audio track?" You get the idea. 

Being the owner and operator of a recording 
studio for the past 20 years has given me 
insight into a lot of these situations. I wasn't 
very pleased with the first release of the Flyer 
audio interface, but I knew I could make it 
work as I had an audio studio at my disposal. 
Other users weren't so lucky and NewTek soon 
updated the package to include a color-seg- 
mented LED bar, which is still the de facto 
standard. It doesn't actually do anything for 
the sound quality, but it does assist the opera- 
tor in establishing relevant audio levels going 
into the drive. 

So what can you do to increase your audio 
potential and quality without purchasing a 
recording studio? First you'll need a good 
dynamic microphone like a Shure SM-58 for 
voice-overs. Next, you'll need a small audio 
mixer. Mackie and Tascam make some excellent 
"no frills" models in the S300 range which 
accept XLR (low impedance) microphone inputs 
and have line level outputs which will interface 
directly into the Flyer's audio inputs, Use good 
RCA connector cables, preferably with gold 
ends. Hook up a CD player or cassette deck into 
the other mixer inputs and you're all set. 

Another important item for Flyer users is a 
compressor/limiter This single piece of gear will 
make all the difference in the world in estab- 
lishing a maximum audio level while maintain- 
ing a minimum distortion factor The inherent 
weakness of the Flyer audio interface is the 
inability to allow the user to adjust gain para- 
meters while digitizing an audio clip. Once 
you've started recording, you cannot change the 
volume one way or the other. A compressor/lim- 
iter, when properly adjusted, will automatically 
"turn up" the volume on quieter passages and 
"turn down" the louder ones. This is a perfect 
companion to the Flyer audio interface and will 
make for a much smoother audio track with no 
overloads or audio distortion. Just insert the 
unit's signal chain between the outputs of your 
mixer and the audio inputs of the Flyer and 
you're on the road to producing professional 
sounding audio tracks which will greatly 
enhance the total impact of your video project. 

There's still more to better audio — like EQ, 
reverb, adding sound effects, blending "live" 
audio sources with studio sources, synchroniz- 
ing overdubbed audio to video, audio gating 
and "ducking" and the like. I'll cover some of 
those areas in future Tekniques columns. 

Amiga Lightwave 

F9 Render Fix 

ey joe my 

If pressing F9 does not render 
your image in Lightwave 3D for 
the Amiga, it is because the num- 
ber of the keyframe you are ren- 

dering is higher than the number 
in the Last Frame box in the Scene 
Panel. Fix this by selecting Scene 
and giving the Last Frame box a 

higher number. Be sure to press 
return before selecting Continue. 
Now your image will render when 
hitting F9. 

April 1997 NEwTBHiau(S||13 


Navigating the NT 

seas with 

swarthy crew dI 
lightWave sailors. 

Avast ye 


The NT crew of 

Digital Domain 

takes the beach. 

L i gh t Wa ve 
animators are 
sailing the high seas just off 
Venice Beach, CA. They have 
set their grappling hooks 
into Hollywood and are 
storming aboard. But this 
crew's brine is binary, its 
vessels are virtual, and its 
Jolly Roger has "NT" embla- 
zoned on it. This NT crew 
(for Windows NT) of over a 
dozen adventurers is part of 
a larger armada aptly called 
Digital Domain. 

■•- -^ 




*T ""*"."• JiW 



Photos courtesy of Digital Doma 

14||toTEKKiinsES April 1997 








/n a senes 0/ ads for Carnival 
Cruises, the Digital Domain team 
animated lifelike tropical lish doing 
the conga onderneath the croise 
ship and made a realistically 
rendered palm tree dance the 

All modeling was done in 
LightWave while the brightly 
colored texture maps were 
created in Photoshop. Elements 
were then rendered in LightWave 
over a black background, and 
composited in Flame. 


Heading into the treacherous 
waters of feature films, these buc- 
caneers use LightWave as their 
saber and DEC Alphas as their 
sail. Their maiden voyage is noth- 
ing less than Titanic. From what 
we've seen, the results are aston- 
ishing. (Because of non-disclosure 
clauses, we'll have to walk the 
plank if we say anything more 
about sinking ships.) 

Grant Boucher and five other 
top animators joined Digital 
Domain a year ago. Scott Ross, the 
CEO of Digital Domain, hired 
them as an experiment to see if 
DEC Alpha computers running 
Windows NT and LightWave could 
be effective in a high-end produc- 
tion environment- (Digital Domain 
has deployed as many as 300 SGI 

CPUs to complete projects.) The 
NT team was given a 90-day trial 
period. The relationship proved so 
effective that "Digital Domain was 
quickly convinced," says Boucher. 

Digital Domain now has site- 
licensed LightWave and makes 
sure all their in-house tools are 
LightWave- and Windows NT- 
compatible, At the beginning, 
there were six artists, each with a 
DEC Alpha machine. Today, for 
some assignments, up to 60 
machines are used. 

Boucher describes the initial 
experience as "setting up base 
camp. It was terra incognito. We 
were trying to prove that a differ- 
ent methodology was of value." 
In fact, their offices at Digital 
Domain resemble a base camp. 

Each cubicle is draped on top with 
black cloth to block out ambient 
light from a skylight. You feel a bit 
like Lawrence of Arabia as you 
duck mto the tents to meet these 
pharaohs of f/x. But after a quick 
glance, you realize you've stepped 
into the 21st century. Each artist 
has a 500 MHz DEC Alpha-based 
computer with at least 256MB 
RAM, a Dynamic Pictures OpenGL 
graphics card and a 21 -inch moni- 
tor- A DPS Perception card is in 
every other machine and the 
whole system is networked togeth- 
er. Boucher likens it to having a 
supercomputer under your desk. 

As the workload has increased, 
the studio has hand-picked talent 
from around the world, including 
recruits from England (John 

Allardice, recently arrived), and 
Belgium (two award-winning 
artists waiting for their visas) 
LightWave guru Alan Chan came 
on staff with Peter Nye and Andy 
Lesniak after the "Deadly Tide" 
game was completed at TRG3. The 
well-traveled Richard Payne (his 
credits read like the unabridged 
field guide to Amiga and 
LightWave institutions) fittingly 
labors alongside his friend from the 
airbrushed T-shirt days in Jersey, 
Karl Denham. While at Area 51, 
Denham worked on "Space: Above 
and Beyond" and "Dark Skies." By 
the time you read this, the staff will 
have expanded from the original 
six to 18, "I've been told that 
Digital Domain is the black hole of 
(continued on next page} 

April 1997 taTEKHIQaiS||15 




[lie cfemaniJ In compiler animate has never been gres'er Bui 
before packing oil la Dollped. check your baggage to see il you 
bare what il lakes. 

1 Italic talent: Grars Bnuchei ol Digital Domain says, "At M, Ibe 
I . artist and arl aie paranouol." Eric 9arba advises to lean now Id 

draw a cube — studying lighting shadows and composition. "We 

aie looking lor attention to detail" 

Z Curiosity and imagination: "11 p can't understand bow soroe- 
. thing worts, you can't tieale the elds." says lonchei. Gieg 
feegaiden atWs. "Ihe computer is a fab pencil." loiagioalion 
is the ingredient thai makes the computer sing. 

3 line crallsmaoship: Mem fsirbas slresses basic lighltoe skills. 
. "good use ol splines and Seyframing, no delaull sellings lor 
lighting or slock ohjecls. Doi'l oiorligbl yoor scenes." With an 
emphasis on photorealism, careliy modeled, textured end lit 
objects are essential Boucher adds, "flon'l tell me it's photoreal 
if you're nrjl using Caller." 

J| Demo reel: The ainice was universal: make il short and make il 

T . well. Yoo aie only as good as yout worst clip. So if it's not good, 
itdo it or toss il Keep Ibe whole tape to 1 1/2 lo 1 minutes ol 
only outstanding ivoit Boucher says. "Sail with yoor best 
because lirst impressions are everything." How do yoo too ;; if 
yoor woik is gooii? Gel an unbiased opininn. 

r Persistence: Don'l bo discuniaged il you ate rejected. Ga Lack 

i . and walk on your animations. My. impioie (lot skills, and liy 
again, tou nera know when that project you toiled on years ago 
will pay off. live years ago, alien fred Topper uas leaning 
ligtilfa, the first uetrjse be tried was norjeling a piece ol 
the sunken Italic Guess what he is doing today. 

Hi"! TesniOUCS April 1997 


: *ft 

k j- 

The Virtual Andre commercial for Nike presented a major challenge for 
the Digital Domain crew — realistic human character animation. The 
image map for Andre Agassi's face is accurate right down to the pores 
on his nose. The Metamation plug-in was used for character animation 
and lip-synching. 

LightWave talent," says Boucher. "Well, I think 
we have reached critical mass." 

Because of the long development time for 
major movie projects, none of the NT team's 
feature film efforts have screened at your local 
Cineplex yet. The team did assist with some 
DEC Alpha render tests with Dante 's Peak, but 
without the involvement of LightWave, They 
have also done a handful of shots for The Fifth 
Element, due in May. So until the release of 
Titanic (this summer), the most visible prod- 
ucts of Digital Domain's NT team are the com- 
mercials they have been part of creating. 

Under the direction of the commercial divi- 
sion Vice President/Executive Producer Ed 
Ulbrich, Visual Effects Supervisors Fred 
Raimondi, Michael Gibson and Ray 
Giarratana, as well as Vice President of Digital 
Operations Ruth Scovill, the NT group has 
seamlessly integrated its work into Digital 
Domain's artistic pipeline, including many of 
the commercial division's most noteworthy 
recent accomplishments. 

If you have gone to a General Cinema Corp. 
theater recently, you have seen one of the first 
projects the NT team was involved in at 
Digital Domain. It is a GCC trailer with the box 
of popcorn and cup of soda. Eric Barba of the 
NT group designed the theater in LightWave 
and created the particle effects with Particle 
Storm from Dynamic Realities. Digital Domain 
used 150 SGI CPUs to complete the LightWave 
rendering in film resolution. The characters 
were designed in Softimage by another Digital 
Domain group and were rendered with 
Rendetman. Boucher says this was one of the 
first examples of mixing LightWave, 
Softimage, Alias, and Renderman. "This was 
indicative of Digital Domain's philosophy of 
using the best tools for the job," he adds, 

Another example of this synergy is the 
Duracell Evolution commercial — the one with 
the battery shedding its skin and hopping 
through a rocky terrain. The set was created by 
the Digital Domain model shop. The camera 
motion control data was then converted to 

About Digital DomainrThe Mother Ship 

LightWave. Mark Glaser then 
recreated the environment in 
LightWave. He animated the CG 
battery with the digitized informa- 
tion in the preview background. 
The opening shot of the battery 
exploding out of the ground was 
originally planned to be a 
pyrotechnic done with the model 
Glaser convinced the director, 
Roman Coppola, that creating the 
explosion in LightWave would give 
them more control over how and 
where the fragments would fly. It 
proved to be a creative and practi- 
cal solution 

Two of the newest commer- 
cials with the NT team's 
LightWave touch are the 
Carnival Cruise ads. The first 
commercial features LightWave 
created fish swimming m conga 
lines under a Carnival Cruise 
ship. Boucher liked this project 
because he was forced to go to 
the Bahamas and learn how to 
scuba dive to supervise the 
underwater filming. Greg 
Teegarden and Glen Miller ani- 
mated the digital effects back at 
Digital Domain. (Teegarden's 
version of Boucher's trip is that 
the old sea dog communed with 
the Caribbean over the side of 
the boat. For you landlubbers, he 
got seasick ) Teegarden modeled 
all the fish in LightWave except 
for the puffer fish that Glen 
Miller created. The brilliant tex- 
ture maps were painted in 
Photoshop, All the elements 
were then rendered in LightWave 
over a black background. The 
final compositing with the 
underwater footage was done in 
Flame by Lyse Beck. 

The second ad has palm trees 
doing the hula in the wind. Jon 
Tmdall's appropriately titled 
"Wobbler" plug-in motored the 
wiggling palm fronds. Custom 
plug-ms by Steve Worley, had to 
be written to render the palm 
fronds properly. The palm trees 
were animated, lit. and rendered 

by Peter Nye and Alan Chan 

Because of the demands of 
matching computer-generated 
objects and images with the real 
thing captured on film, photoreal- 
ism has hecome an aspiration 
and an inspiration. Achieving it 
often means the NT team has to 
take models and add minute 
details. For example, for a Dodge 
commercial, Eric Barba created a 
photoreal Viper. Because of some 
close-up shots, he had to rebuild 
the headlight lenses and add 
some bolts to the model digitized 
by Viewpoint. With the aid of 
Steve Worley's Gaffer plug-in. the 
final effect is flawless. 

With his degree in transporta- 
tion design, Barba has become the 
resident expert in vehicle textur- 
ing and lighting. For a Plymouth 
Neon spot calling for the cars to 
bounce on a trampoline, he modi- 
fied the Viewpoint models exten- 
sively. "The director of photogra- 
phy, Bill Bennett, has shot car ads 
for years," says Barba, "and he 
was blown away with how quick- 
ly we could get photoreal." 

When the NT team fooled the 
Digital Domain model makers 
with a film resolution rendering 
of an F-15 jet, they knew that 
they had just passed a major test 
of their skills. The jet was mod- 
eled from scratch and Andy 
Lesniak painted some incredible 
texture maps in Photoshop. Mem 
Tsirbas, who headed up the in- 
house testing, said their F-15 
"sold Digital Domain into doing 
photoreal CG planes ." 

Photoreal cars and planes are 
one thing, but humans and ani- 
mals are at least another one or 
two levels more difficult, making 
character animation one of the 
next big challenges for this crew. 
Character animation was literally 
faced head-on in the production 
of the Virtual Andre commercial 
for Nike. In this ad, a way cool 
dude battles against a virtual 
Andre Agassi in a wild game of 

he NT team is only one part of a much larger organization. When Digital 
Domain was sailing at full production speed for Dante's Peak, it 
employed more than 900 people. 

The portentous pirate flag flying over the studio's Venice, CA, headquarters 
heralds a warning: Digital Domain is prepared to battle every buccaneer on the 
seas to establish mastery. 

Established in 1 983, Digital Domain is the brainstorm of three acclaimed talents: 
James Cameron (writer/producer/director), Stan Winston (four-time Academy 
Award-winning creature creator) and Scott Ross (former ILM & LucasFilm 
Vice President). The three entered into a 50/50 partnership with IBM to form 
"D2." The objective was to establish a convenient, world-class, full service visual 
effects company near the Hollywood studios. The company has created visual 
effects for feature films, theme park attractions, music videos, commercials, and 
most lecendy, new media. 

A wall through the studic reveals relics h r " pasl feature fi m projects 
miniature vehicles frozen on the bridge from True Lies, a lava-burned U.S. 
Forestry truck model from Dante's Peak, and a wonderfully detailed skyline from 
The Fifth Element The feature division also has produced award-winning rocket 
launch shots for Apollo 13 and the special effects for Interview with a Vampire. 

Last summer Digital Domain's feature theme park division opened "Terminator 
2 - 3D," a S50 million dollar attraction at Universal Studios in Orlando, FL. 
Called by Stereo World magazine "one of the most spectacular displays of 
computer animation ever shot," it comprises three screens with separate 
images (each divided in half with a view for each eye) spanning 150 feet. 
The 12-minute drama combines live action and computer animation and stars 
the truly 3D he-man, Arnold Schwarzeneggar. 

In contrast, this past Christmas, parents raided toy stores for "Barbie Fashion 
Designer," a CD-ROM for girls. Having sold 600.000 units to date, this joint 
project of Digital Domain and the Mattel Toy Company is a computer CD 
program for designing and printing Barbie clothing for that perennial princess of 
commercialism. The animation allows future Donna Karans to view creations on 
a virtual runway. 

The commercial division boasts memorable award winners, including 
Mercedes' "Rhinos," the Budweiser "Clydesdales," Nike's "Magazine Wars" 
tennis spot and the company's very first commercial, 'Jeep Snow Covered," 
which premiered during the 1994 Winter Olympics and went on to win the 
Grand Prix award at the Cannes Advertising Festival, 

The 1994 Grammy and MTV awards honored Digital Domain's first music video, 
the Rolling Stone's "Love is Strong." In this one, Mick and the boys virtually 
romp through New York City. 

In 1996, Digital Domain acquired a new strategic partner and financial backer, 
Georgia-based Cox Enterprises (cable TV, newspapers, etc.) With this new 
partnership, Digital Domain hopes to realize one of its original goals— to be a 
content provider. If their past successes are any indication, their corsair will be 
sailing the seas for years to come. 

April 1997 NmTuniauEs|ll7 

These animated Dodge vehicles started out as 
Viewpoint digitized models which were then modified, 
textured and lit until they become photoreal. 

and a 60-second version. The original 60-second 
spot is worth the search Look for it on ESPN or 
one of the Grand Slam tennis tournaments. 

Despite the success of the Agassi ad, 
Boucher will be the first to admit that charac- 
ter animation is one of the remaining weak- 
nesses of LightWave. Boucher and his NT 
staff, however, are working closely with Allen 
Hastings, Stuart Ferguson, and Fori Owurowa 
at NewTek to add new features to the pro- 
gram. Along with other high-profile LightWave 
studios like Digital Muse and Foundation 

tennis. Mark Glaser led the NT team that mod- 
eled Agassi's head and created an image map 
that is a dead rmger for his face — down to the 
pores on his nose. Kent Lidke developed many 
of the technical directions for the facial mus- 
cles and then handed off the default scene for 
others to animate. The Metamation plug-in 
was used for character animation and lip- 
synching. Performance capture for the body 
movement was done with Alias. (Glaser has 
photos of the non-virtual Agassi with reflec- 
tive balls attached to his body for the motion 
capture process.) The tennis court and stadi- 
um were designed in LightWave Using the 
imported data on camera movements, the 
shots were then rendered in LightWave. 

Glaser figures that it took about six weeks to 
complete the project. The fust few weeks were 
spent just exploring different techniques. The 
results are a riot. There is a 30-second version 

Imaging, Digital Domain has forged a strong 
collaborative relationship with NewTek. 

"We have become strategic partners with 
NewTek." says Boucher. "We help them priori- 
tize their development schedule by telling 
them what software features we need for 
upcoming projects," The process benefits every 
animator who uses LightWave because there is 
a constant push to develop the best software 
for the most demanding applications The fea- 
tures Digital Domain requests become the ones 
we enjoy m the next version of LightWave. 

The development of Steve Worley's Gaffer is 
another example of this symbiotic relationship 
between developer and end user To tell this 
story, it is important to establish some historical 

Before coming to Digital Domain, Boucher. 
Barba, Miller. Teegarden. and Fred Tepper all 
worked at Amblm Imaging, Steven Spielberg's 
outfit They were originally hired to produce 
digital effects for the "seaQuest" television pro- 
gram, using LightWave. During the same peri- 
od, they also went onto other shows such as 
"Sliders" and "Baywatch." 

While at Amblm, Boucher and John Gross 
(now a partner at Digital Muse) worked on the 
special effects for the "Star Trek Voyager" 
series. As the digital supervisor for special 
effects. 3oucher was responsible for visualiz- 
ing and creating calamities like waip core 
breaches and space anomalies. Gross super- 

vised the modeling of the digital version of 
Voyager. For their work on "Caretaker," the 
pilot episode of "Voyager," Amblin Imaging 
received an Emmy for special effects. The for- 
mer management of Amblin Imaging kept the 
statue, while Boucher received an Emmy cer- 
tification that he keeps framed on his wall 

After Amblin Imaging dissolved. Boucher, 
Teegarden, Barba, Tepper, and Miller decided 
to stay together. Around this time, Mark 
Glaser arrived suitcase-in-hand from Toronto, 
where he formerly worked on special effects 
for the "Robocop" television series. He never 
officially worked at Amblm. 

The first major project tackled by the six of 
them was an ad for Dow Chemical about ter- 
mites. Glaser supervised this commercial 
while working from his house. Its sucess 
"funded the revolution." he says, enabling the 
six to move to Digital Domain. 

The spot called for termites crawling in 
their tunnel. The challenge was how to light 
the termites realistically while not affecting 
the tunnel's lighting. Cue Steve Worley. To 
give them better lighting control, Worley 
designed a single LightWave button plug-in 
called Light Boost 

He continued working with them when 
they went to Digital Domain. The demands for 
greater photorealism in projects like the 
Plymouth Neon ad directed the development 
of features for Worley's Gaffer software (name 
suggested by Glaser and Teegarden). The 
refined product that's now on the market is a 
result of that give and take process. 

Boucher expects to continue pushing the 
LightWave envelope so the NT crew can 
expand their capabilities mto refined charac- 
ter animation. Digital Domain has a corporate 
goal of becoming a content provider, and he 
sees the NT team at the forefront 

Within the next year, Boucher predicts the 
Alphas will tun three times faster, which is for- 
tunate. Judging from the work already in the 
pipeline and future projects that will drop 
anchor, this team of swashbucklers needs all 
the firepower it can get. 

Dick De Jong and Molly Dinkins produce video 

documentaries and animations for Multimedia 

Associates in Austin, Texas and can be reached at 

1 B 1 NlviTlUNiiUtS April 1997 

Dynamic Realities is the company professional Lightwave 
users turn to for enhancing their animations. Companies like 
Digital Domain, Interplay, Area 51, Foundation Imaging, Flat 
Earth Productions, Netter Digital Entertainment, Encore 
Hollywood, and Digital Muse are just a few. 

You've seen their work. Babylon 5. Hercules. Xena. The X- 
Files. Sliders. Star Trek-Voyager. The Burning Zone. Courage 
Under Fire. You get the idea. 

And what is the software that these professionals are using 

every day? Impact, Particle Storm, Lock & Key, ShaderMan, 
and Stripper. 

These are the hottest Lightwave tools on the market, and for 
good reason: the quality of the results, the ease of use, the 
user interfaces, and the support of NewTek. 

So if you want your name to be added to this list of famous 
animators, you'd better be good. But if you simply want your 
animations to be the best you've ever created, get these 
products. And get real. 

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Circle #205 

NewTeH's Tim Jenisoni 








NewTekniques recently had 
Iheopportanify to interview 
lim Jenisun, bander and 
chairman ol NewTek, which 
was established in 1 985. As 
the visionary behind the desk- 
top video revolution, Jenison's 
dream to deliver an advanced 
broadcast qualify editing and 
special effects system was 
realized in Dctaber of 199D. 
with the shipping dI Newtek's 
rovololioaary Video Toaster. 
We IhanUimJenison lor tak- 
ing time out dI his busy sched- 
ule tn share soae past, pre- 
sent, and lulure insights. 



How and why was NewTek Sounded? 

JenisDn: I started out a completely frustrated 
videographer using what at that point was 
up-to-date consumer equipment. The equip- 
ment really did not do what 1 wanted. 
I wanted slips, tumbles, and cool stuff. 

After what I saw happening in computer 
technology, particularly with microprocessors, 
I realized there might be a way to achieve 
what ! was wishing for in video equipment 
through the use of computers. At that point, 
1 sold off rny share of another business and 
started NewTek. My goal was to make video 
and graphics products that were affordable 
and accessible to everyone. 

TV was a language that everyone could 
read but no one could write because it wa: 
too expensive to produce. If we could solve 
the problem of cost, we could make TV pro- 
duction more accessible. It used to be that a 
typical editing system could run from over 
S100.000 up to a million or so. NewTek 
brought the cost down to the point that just 
*h~„t =r»"one can afford I 

20|| NEMvTEKHiaJtS April 1997 

BJ>— "JU.IMH 1 .' 


■Kj'jrc^ *£3 ^H 

The many 
faces of 
Tim Jenison 

NewTekniques What did you do 
before founding NewTek? 

Jenison: As a k:d I always played 
around with taking things apart, 
building things, and probably 
drove my mom crazy. My dad 
was an electrical engineer so I 
must have picked it up by osmo- 
sis. My best friends growing up 
were transistors, resistors, and 
vacuum tubes. 

As far as my professional career, 1 
used to own a company called 
ColorWare that made computer 
graphic products. Our first product 
was a character generator that ran 
on one of the Gist Tandy Color 

Our second product at ColorWare 
was the DS690, a high-speed 
video digitizer that enabled users 
to connect a black-and-white 
camera to a personal computer. 
But the most successful product 
by far was the CoCo Max. a run- 
away best seller paint product for 
the Tandy computer. 

All of these things led me to try 
to do full video editing on a 
personal computer, but 1 found 
that personal computers were not 
powerful enough at that time 
When the Amiga was introduced 
I saw the basics to put together a 
professional video editing product 
and hence started NewTek, 

*nii|ues. Is NewTek today 
where you envisioned it would be 
by now? 

Jenison: I am very pleased the 
Video Toaster has been such a 
perennial seller. Most computer 
products have a sales life of two 
to three years and the Video 
Toaster is still selling strong after 
seven years. 

My hopes were that 3D would 
become mainstream, but the 
level to which the industry has 
embraced it has even surpassed 
what 1 had envisioned. When we 
first introduced the Video 
Toaster, it was a small niche and 
now you cant watch TV without 
seeing 3D in TV shows such as 
"Babylon 5" and "Star Trek: The 
Next Generation," in commer- 
cials for M&M's, Dodge, or 
Carnival Cruise Lines, or experi- 
ence 3D in the thousands of 
video games in the market. 

I am most proud at the level of 
professionalism our end users 
have achieved with LightWave 
3D and the Video Toaster. When 
we first shipped the Video 
Toaster we asked our users for 
tapes from their projects. The 
first tapes we got I thought were 
pretty amazing but as people 
started to use the Video Toaster 
on other projects the tapes just 
got better and better. 

I am truly blown away these 
days at the projects 1 see our 
users producing with LightWave 
3D and the Video Toaster/Flyer 

How does the cur- 
rent state of the Amiga affect 
your development plans for that 

Jenison: This has been a question 
we've faced since day one. The 
most important thing is you can 
still buy an Amiga. It is still a 
powerful tool used every day and 
we continue to develop current 
versions of the Toaster and Flyer 
for it. 

(continued on next page) 


April 1997 NcwTekmiques 21 


Tim Jenison: 



So as long as the 
Amiga situation is resolved and 
units continue to be produced, 
you will continue support and 
development lor that platform? 

Jenison: It really depends on how 
the Amiga development situation 
is resolved. Our Amiga Video 
Toaster users are very important 
to us and we will continue to 
develop products so as not to 
forsake our existing loyal Toaster 
and Flyer users 

How do you see 
LightWave 3D differing now and 
in the future as compared to 
other animation programs? 

Jenison: LightWave 3D has the best 
price/performance in the industry. 
It is also the only 3D soltwaio 
product that is truly cross-platform. 
We want our users to be able to 
use LightWave on any platform 
that they choose. To date we are 
on SGI. NT, Windows, Power Mac. 
and veiy soon LightWave 3D will 
be available on Sun, 

We have an extremely loyal user 
base that helps drive the software 
development. We have open lines 
of communications giving the 
artists and producers who actual- 
ly use the products the ability to 
access our developers and prod- 
uct marketing professionals. 

Many of the features you see in 
LightWave 3D can be directly 
attributed to specific users or 
production companies that were 
looking for a certain effect or 
feature. We are pleased that 
our users take the time to 
communicate with us so we can 
better serve their needs. 

So if a LightWave 
uset had a suggestion he or she 
would like to see implemented, 
what would be the best way to 
submit that idea? 

Jenison: There will be a place on 
our Web site that is specifically for 
users to submit comments and 

By the time this interview is pub- 
lished you should be able to log 
into and find it 
very easily. 

Since going to 
multiple platforms, hovs does 
that move affect your ability to 
update and improve already 
prominently established bases of 
LightWave 3D? 

Jenison: We don't want our users 
to have to choose a 3D software 
product based on the platform it 
is on. Many of our users use 
LightWave across their network 
on all the platforms. 

Because the product looks and 
feels the same on all platforms, 
the core work for upgrades is the 
same. However, it does take more 
work, but we feel strongly about 
not limiting our users to only one 
or two platforms. 

22 NewTekhioues April 1997 

Our LightWave developer and 
support staff is several times 
larger than it has been in past 
years and we are always on the 
lookout for good programmers to 
bring enhancements to 
LightWave as soon as possible 

Can you hint as to 
what some of the features of the 
next LightWave upgrade will be? 

Jenison: Our next version of 
LightWave 3D will be 5.5 and we 
will be showing it in booth 
M6618 at NAB. Some of the 
things LightWave users will be 
able to look forward to include: 

* Negative Lights 

* Organic Modeling Tools 

* Enhanced User Interface 
■ Real-time Texture Maps 

* Multithreading Rendering 

* Bundled Character 
Generation Plug-in 

I When will 
LightWave 3D 5.5 be available? 

Jenison: We will be showing 
LightWave 3D 5.5 at NAB, We 
will begin shipping it for the Intel 
platform in the second quarter of 
this year 

Have plans to 
develop the Toaster/ Flyer for 
Windows NT been dropped? 
If not, when can we expect to see 

Jenison: Plans have not been 
scrapped to develop a Toaster/ 
Flyer System for Windows. In the 
past, however. NewTek has 
talked about and announced 
products that were not available. 
We've changed our philosophy 
and we don't want to hype a 
product that is not ready to ship. 
As soon as we feel confident we 
have a product that will meet the 
stringent demands of the market- 
place we'll let you know. 

Are there any plans 
for future Flyer upgrades in 
regards to audio enhancement? 

Jenison: Most definitely. We are 
working on all types of upgrades 
for the next version of the Toaster/ 
Flyer, including audio envelope 
control The new version 5.0 will 
be available soon. In addition, 
there are many of ou: third-party 
development partners selling 
audio plug-ins. Those interested 
can get a complete list of all of our 
third-party plug-ins from our 
customer service department. 

What kind of things can we 
expect from NewTek in 1997? 

Jenison: There are a lot of things 
in the works right now. Just a 
few things will be: 

■ A much greater focus on the 
dealer channel, training, and 
more comprehensive two-way 

* Expanded suite of products to 
addiess a larger and more 
diverse user base 

* Enhanced responsiveness with 
our customer service efforts 

* A greater level of participation 
with our thud-party developers. 

* More sales and service support. 

On a personal note, 
what do you do for fun when not 

Jenison: This may sound funny but 1 
actually have the most fun at work. 
I love to read and keep my finger 
on the pulse of the marketplace 

Keeping up with the industry is 
exhilarating because the tools we 
work with tomorrow are guaran- 
teed to get cheaper and better 
than the ones we use today. 

What message 
would you like to relay to users of 
NewTek products? 

Jenison: The most important mes- 
sage 1 want to stress to our users 
is we really appreciate their loy- 
alty and support. Our customers 
are truly the best and we'll work 
around the clock to continue to 
bring our customers state-of-the 
art products for all the 3D and 
video needs. "1 

April 1997 NwTekhiques 23 




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Creating e DMA 
strand in 

UghtWaue in 

12 straightforward 



Figure 2 

elcome to LightWave 101. My name is Scott Wheeler and I'll be your guide through what 
I hope is going to be a fun and informative column. This column will follow a college cur- 
riculum paradigm, meaning we will start off as 101 this year and 201 the next, and so on. 
Because it is considered to be a college level column, I'll be conducting it on the assumption that all 
attending are LightWave knowledgeable. I won't be reviewing where to find certain functions unless the 
procedures to get to them are hard to follow. Since class is a two way exchange of ideas, feel free to ask 
any questions you like. I can be reached for questions or comments at 

Ever s:nce 1 can remember. I've 
been in love with the movie and 
television industry It wasn't until 
1977 {Star Wais) that my view 
changed and I needed to make 
movies. In high school Joe Dox 
and Richard 'Jake' Jacobson and I 
started making super 8 epics 
(okay, okay. . . . 15-35 minute 
shorts) with friends or anybody 
else we could sucket into holding 
equipment or embarrassing them- 
selves on celluloid 

After high school I went to 
Syracuse University for computer 
science where I found 1 spent all of 
my free credits taking TV produc- 
tion classes at the SI Newhouse 
School. My sophomore year, I 
talked the school into letting me 
get a minor in computer science 
and a major in writing for telecom- 
munications. It was no small feat, 
since nobody could see what the 
two had to do with each other- 

After graduation I moved back 
to Boston with my lovely fiancee, 
Lana, and began looking for a job. 
I would have taken one as a med- 
ical database programmer had 
Lana not convinced me to inter- 
view at a local access cable sta- 
tion in Danvers, MA. I quickly 
realized that production was 
where I should be (Lana always 
knows best) So I kissed my career 
in the exciting world of medical 
databases goodbye and started 
broadcasting on a station that 
was watched regularly by no 
fewer than 10 people. 

Soon after I arrived we got a 
Video Toaster and I began play- 
ing with the Switcher, CG, and 
ToasterPaint. Occasionally I 
would hit the 3D button by acci- 
dent and scream in horror at the 
alien nature of the module. 
Slowly, I began exploring more 
with the 3D button and eventual- 
ly got to the point where I was 

making logo opens for shows we 

I hooked up again with Joe and 
we started Galaxy Video and 
Animations. While trying to make 
a name for ourselves we befriend- 
ed Chris Richardson, then the 
Commodore demo guy m Boston, 
who later went to NewTek It was 
through Chris that I was able to 
get Ken Stranahan at Area 51 to 
view my reel, and consequently 
was hired to do modeling for 
"Space: Above and Beyond." 
Since then I've moved on to being 
the supervising animator for "The 
X-Files " "Millennium," selected 
episodes of "Dark Skies" and the 
recently released "Buffy The 
Vampire Slayer." 

Time for class. What follows is a 
short example of how to create a 
DNA strand in LightWave. All other 
modeling projects we will be build- 
ing to scale, but in this case we will 
not. since it would be insane. 

26p[wTEMIQIES April 1997 

10 Quick Shortcuts 
for Layout & Modeler 






In Modeler, [Shift-a] will zoom you into 
, only the selected area of your object. 

Using the [+] key in Layout will add 
i either a light when in Light mode [Shift- 
I) or a null object when in Object mode 

In Layout, using the [-] key will remove 

■ either a light when in Light mode [Shift- 
I] or remove an object when in Object 
mode [Shift-o] 

In Modeler, holding the [alt] key down 

• and selecting Save As will save all of 
the active layers as one Modeler object 
and preserve the layer order. Note: This 
object will not load into Layout so use 
it as a work-in-progress saver. 

In Layout, [s] generates a preview of a 

■ given surface in the surfaces panel. 

In Modeler, using the right mouse but- 
i ton to perform operations like Mirror 
and Lathe will activate the operation 

Holding the [alt] key down in Modeler 
i allows you to scroll the view port with 
the left mouse button, 

In Modeler, if you want to constrain 

• movement of an object to one axis hold 
the [ctrl] key down while moving. 

To assign custom view port parameters 

> in Modeler hold down the [ctrl] key and 

press one of the numeric keypad keys. 

In Layout, Object, Lights, and 
Camera bounding box colors can be 

changed by clicking on their icons in 

the scene panel. 

Enter Modeler Zoom back till the grid size 
in the lower left corner of Modeler reads 
lm. Lay out a series of points in pattern as 
shown in Figure 1. Place your points on 
the TOP view only so as to make sure that 
all points rest on the same Y-axis. Make 
sure that the points nearest the X-axis 
zero line are exactly on the zero line. You M| 
can accomplish this by selecting just 
those two points and using the Set Val 
Tool [Ctrl-v]. 

Connect the first group (the group on the 
+ side of the Z-axis) of four points togeth- 
er in a clockwise direction. Make sure you 
select the points in a clockwise manner 
so that the polygons will be facing the 
correct direction. After selecting them, 
make a polygon [p|. Select the bottom two 
points of the polygon we just created and 
the next two points. Make a polygon. 
Repeat this step one more time until your 
display matches Figure 2. 

We need to add some depth to our ladder. 
Use the Minor tool along the X-axis zero 
line to make a symmetrical copy of the 
shape we just created. If you Merge 
points Automatic |m| you should be 
rewarded by the removal of three nasty 
points If it didn't work, undo [u| your last 
step and verify that you mirrored on the 
X-axis line and that the points closest to 
said line are in fact on that line. 

We will now extrude our shape out -lm. 
Selecting the Extrude tool in the Multiply 
bank, click the left mouse button on the 
TOP view. You should now see a dotted 
box around our shape and a cross hair in 
the center. Press |n] to bring up the 
numeric requester and type 1 for sections 
and -1 for extent. Press return once to exit 
the requester and press return again to 
make the shape in Figure 3. Center it on 
the Y-axis by using the Center custom 

We'll make the object less blocky by sub- 
dividing it (shift-d). Select Metaform and 
click OK. Your shape should now look like 
Figure 4 Since this is only half of the lad- 
der we need to rotate a copy into the cor- 
rect position to finish. 

Figure 6 

April 1997 NewTekhoies 


Figute 7 

Press [c| to copy the Figure 4 shape. Place 
the cursor directly on the 0,0 line of the 
FACE view and rotate the shape [r]. On 
the TOP place the cursor on the 0,0 line 
and press rotate [r] twice to flip the shape 
around Paste [v] the old shape back- You 
should now have an image that matches 
Figure 5, 

We now need to make a series of copies of 
the object while adding a slight rotation 
on each copy. 

Click Clone in the Multiply bar and type in 
the following: 

12 clones 

X Offset 3m 

X Rotation 30 degrees 

Leave everything else alone and click OK. 
You should now have an image that match- 
es Figure 5. We need to give the inner lad- 
der a name [q]. Call it DNAJNNER, make it 
brown (R=200, G=141 B=82), and turn 
smoothing on. Copy this object to layer one 
and clear out the other layers 

Now we'll create a chain of balls around 
the outside of the ladder to give us the 
DNA look. Well do this with some low 
po!y balls since this object can easily 
climb in polygons if you're not careful. 

Select Ball from the Object menu and pull 
up the numeric requester |n]. Type in the 
following values: 

Side 6 

Segments 3 

Center -1.125m, 0m -5.5m 

radii 75cm. 75cm. 75cm. 

After you click OK, hit return to make the 
ball. You should have an image that looks 
like Figure 7. 

We'll now copy the ball a series of times 
and array it near the end of the ladder in a 
non-uniform manner to add interest, An 
easy way to do this is to select all the 
polys on the first ball [']. copy them [c], 
and then move the ball to a new location 
and paste the old ball back down [v|. 
Make four balls this way making sure to 
Stay close to the end of the laddei Figure 
8 shows a possible configuration. 

Since we know we built the ladder 
model on the zero line, we can mirror the 

balls along the Z-axis and end up with 

Figure 9. 

Here's the tricky part. We want to lathe 
the balls so that they match up with the 
ladders but fill the gaps between the lad- 
ders. In the Clone panel we can get this 
effect if we triple the number of clones to 
36 and reduce the Offset to lm and the 
Rotation to 10- This will give use three 
times the number of balls in the same 
rotation angle as the ladders. Hit OK and 
make the Clone, the result should look 
like Figure 10. 

Name this surface [q] DNA_OUTER. 

color it (R=145. G=130, B=116). and 
turn on smoothing. Copy this [c] and go to 
layer 1 and paste [v] it into the layer with 
the ladder. 

Congratulations! If all went well your object 
should look like Figure 11 

Figure 10 

■ ■wiwr^ai 

Figure 7 1 

28 NEwTouwiltS April 1997 

Special Effects 

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Placing Flyer clips 

surfaces in 

lightwave 3D: 
The Adventure 





flyer (lips i Lightwave JD 


Welcome to Flying High, the column that will help you take your Video Toaster 
Flyer projects to new heights! As author of the Flyer Mastery Quide. Former Video 
Toaster User Editor-in-Chief and former VTU Flyer Suite columnist, I will be your 
guide in an adventure that will present you with many tips, shortcuts, techniques, tutorials, 
and ideas to improve your work. My goal is to be very informative at a level that all Flyer users 
can understand and appreciate. If. during our quest, you have any questions about the Flyer 
or how to accomplish a task, please e-mail the question to me via 
Some of my columns will be dedicated to answering such questions. 

want between the two levels of audio 
The default of two seconds is usually a 
good choice. Hit Continue. If everything 
looks right, hit Continue again. Play your 
project. The music will now soften at the 
time you specified! 

Sometimes you might recognize a clip 
better by the name versus the picture. 
When this need arises, hit the right 
Amiga button (just to the right of the 
space bar) and the picture icons change 
to name icons. Hit the button again to get 
your pictures back. 

One thing that makes the Flyer better than any 
other non-linear system on the market today is 
the ability to use Flyer clips in conjunction with 
Lightwave 3D. When you take a powerful video 
editing system and combine it with a powerful 
animation system, the results can be astonish- 
ing! Here's a short tutorial to get you started mix- 
ing the two. 

Do you have an audio clip that plays too 
low even at 100 percent? The solution is to 
ensure your clip is properly set in your pro- 
ject, then duplicate it. Problem solved. It 
will now play nearly twice as loud 

Do you have music starting loud for a 
number of seconds at the beginning of a 
project with the need to lower it under 
someone talking 7 There is an easy way to 
accomplish this. Make sure your audio 
clip is set the way you want it. Now dupli- 
cate it. Set the In Point of the second 
audio clip to the point you want the music 
to drop. Go to your Arexx folder. Double 
click on the OZ folder. Make sure your 
second audio clip is highlighted in the 
project (click on it once). Now double 
click on the X-Vol icon in the OZ folder. A 
requester pops up asking what you want 
the volume of the second clip to be. Lower 
it to the level you want. Hit Return then 
press Continue. Insert the fade time you 

30||HwTiKlUQIES Apnl 1997 


Enter LightWave. On the top 
■ menu, select Objects. The 
Object Panel opens. Select 
Load Object. A list of drawer 
names containing objects 
pops up. Scroll down to 
Sports, Click on Sports once. 
A list of sports objects is dis- 
played. Find BasketBall.LWO 
and click on it. Select OK. 
Now click Continue. You 
should see a wireframe ver- 
sion of a basketball on your 
computer monitor (Figure 1). 

On the left hand side of the 
screen you will see that under 
the View column, Perspective 
is highlighted. We want the 
view to be what the camera is 
seeing, however Under the 
View column, click Camera. 
You'll see that the basketball 
is a little more "centered and 
close". Hit F9. The basketball 
will render and be displayed 
on your Program monitor in 
color. Hit the Esc key to get 
your computer monitor back 
to LightWave's Layout screen. 

What we're going to do now is 
take the orange panels of the bas- 
ketball and replace them with a 
Flyer clip of your choice! To do this, 
you'll want to know the name of 
the Flyer clip that you will use. If 
you need to go back to the Switcher 
to find the name a clip to use, do so 
now. Click on the Switcher button 
above the View column. Navigate 
to your drives. Find the name of the 
clip and drive you want to use then 
return to LightWave. 


At the top menu, select 
,. Images. Select Load Flyer 
Clip. A Load Flyer Clip 
requester comes up. Select 
the name of the drive your clip 



is stored on. The names of the 
clips on that drive are now 
displayed. Find the clip you 
want and click on it. You may 
see two versions of the same 
clip name with one having a 
".i" after it. Do not select the 
".i" file as it is the Icon file 
that creates the picture on the 
crouton of each clip. After 
you've selected the clip, click 
OK. You are returned to the 
Images Panel, Click Continue 

At the top menu, select 
• Surfaces. The Surface Panel 
comes up. The very first col- 
umn says Current Surface. 
Click and keep holding the 
mouse button. You should see 
three options: Default, Basket- 
ballSeams. and Basketball- 
Panels. Select Basketball- 
Panels and let go of the mouse 
button, in the next row you 
will see a Surface Color button 
followed by some numbeis 
and a small button with a "T" 
in it (Texture). Select the "T" 

The Color Texture for 
. "BasketballPanels" should be 
displayed now. In the second 
column there is a selection 
box next to the words Texture 
Image Select this box and 
hold down the mouse button. 
You should see the name of 
the Flyer clip displayed 
(Figure 2). Select it and let go 
of the mouse button. In the 
next column, next to Texture 
Axis, select X Axis, Now 
Select the Automatic Sizing 
button. A warning display 
pops up. Click Yes. Now select 
the Y Axis button followed by 
the Automatic Sizing button 
again. Click Yes when the 

Figure 1 

Figure 2 

Figure 3 
There is great power 
in using LightWave 
3D with Flyer clips as 
the clips can he 
placed onto object 
surfaces. In this pic- 
ture, i took a scene 
from a three-part TV 
series I did on Keiko, 
the whale from the 
Free Willy movies, 
and placed it onto the 
surface of a basket- 
ball for purposes of 
this demonstration. 

warning display comes up. 
Repeat the same procedure 
with the Z Axis button. Click 
on Use Texture. Now click 
Continue. Hit F9 As the bas- 
ketball renders out, you will 
see that the Flyer clip has per- 
fectly wrapped itself around 
the panels! If you were to ani- 
mate the project, the clip 
would play on the basketball! 

Next time we'll take this tutori- 
al to the next level by placing your 
basketball, with the Flyer clip 
wrapped around it and playing, 

into a real basketball game! 
Prepare now by taping some bas- 
ketball footage. Also experiment 
with placing Flyer clips onto other 
object surfaces and start thinking 
about how this can enhance your 
next video project. 

Joe Tracy is NewTekniques 
Editor-in-Chief and author of the 
Flyer Mastery Guide which begins 

shipping on April 25, 1997. 

See "Premieres" for more 

information on this book for Flyer 

owners. Tracy can be reached via 

Apul 1997 NtwTiKNiiiuiS 31 


Creating a breaking 

glass animation 

with adjustable 


CleanerThan Real Life 


Breaking glass in real life is a very messy thing, so when one of my projects required it be done in 
3D, I was ready to take the challenge with LightWave. The real trick was to create something where 
the timing could be changed. You could take all the glass shards into Layout and create motion 
paths for every piece, but when the client asks if you could make it a little faster (which mine did) or 
explode more, it would be extremely tedious. 

Figure 3 


The first thing we need is a wall 
with a hole for the window. For 
purposes of this tutorial, we'll use 
simple rectangles 

Put Layer 1 in the foreground. 
Select the Box tool (Objects 
panel). Open its numeric 
requester (n) and enter the 
following data: 
Low: -2, -2, 
High: 2, 2, 
Segments: 1 1.1 

Make the box. In the Polygon mode, 
name this surface "Wall " (q). 

Cutting the Hole 

OK. Now well cut the window 

Copy Layer 1 (c) and paste into 
Layer 2 (v). Select the Size tool 
(HI. Open its numeric 
requester and set: Factor =.3. 
XY2 Center coordinates should 
all be 0. Execute the re-size. 
Put Layer 1 in the foreground 
and Layer 2 in the background. 
The simplest way to do this is 
to put Layer 1 in the back- 
ground and then swap layers. 


Select the Drill tool (Tools 
panel} (R). Set: Axis=Z and 
Operation = Tunnel. Execute 
the drill (see Figure 1). 

The box-creation data I gave you 
should have created both objects 
with their center exactly at the 
Origin (i.e. 0,0,0). This will make 
it easy to position the rest of the 

Window frames 

Now we'll create the window 
frame that protrudes from the 
wall. We could make each side 
separately, but using Modeler's 
Boolean tool on a box is faster 
and easier. 


Put Layer 3 in the fore- 
ground Select the Box tool 
(Objects panel). Open its 
numeric requester and enter 
the following data: 
Low: -600mm, -600mm, 

High: 600mm. 600mm, 
Segments: 1. 1, 1 

Make the box. 

Put Layer 4 in the fore- 
ground. Open the Box tool 
numeric requester again and 
enter the following data: 
Low: -550mm, -550mm. 

High: 550mm, 550mm. 

Segments: 1, 1, 1 

Make the box. 

6 Put Layer 3 in the foreground 
and Layer 4 in the back- 
ground. Select the Boolean 
tool in the Tools panel (B) 
Set the operation to Subtract 
and execute the Boolean 
Deselect all polygons and 
name this surface "Wood" (q) 
using RGB color: 108. 78. 53. 
Copy this object and paste it 
into Layer 1. Save Layer 1 as 
"Wall.lwo" (see figure 2). 

Our window is going to have four 
panes of glass. We need some 
wood to hold them into place. TWo 
crossed-boxes should co the trick. 

32 NewTeknidues Ado! 1997 

Figure 4 

Put Layer 5 in the foreground. Select the 
Box tool. Open its numeric requester and 
enter the following data: 
Low: -25mm, -575mm, 

High: 25mm, 575mm, 
Segments: 1, 1, 1 

Make the box. Deselect the Box tool. 

In Polygon mode, select the entire box 
using the lasso (right mouse button). 
Copy and Paste it (in the same layer). 
Select the Rotate tool (y). Open its 
numeric requester and set: 


Angle =90 


Execute the rotation. Zoom in (a). Deselect all 
polygons and give this the "Wood" surface 
(see Figure 3). 

Next come the glass panes Although we 
could give the glass some 3D depth, a dou- 
ble-sided surface works pretty well. Modeler's 
Mirror tool will save us a lot of time here. 

Put Layer 6 in the foreground. Select the 
Box tool. Open its numeric requester and 
entei the following data: 

Low: -560mm, 20mm, 

High: -20mm, 560mm, 

Segments: 1, 1, 1 

Make the box. 

Select the Mirror tool (Multiply panel). 
Open its numeric requester and set: 
Plane=X; Position=0 

Make the mirror. With the Mirror tool still 
selected, open its numeric requester again 
and set: Plane=Y: Position=0. 

Make the mirror. Name this surface "Glass" (q 
using RGB: 25,25,25 for color (see Figure 4). 

It is now time to slice up the window into 
smaller pieces. 

Copy the contents of Layer 5 into 6. Put 
Layer 7 in the foieground and Layer 6 
in the background. Use the Sketch tool 
in the Objects panel to create a jagged 
line. Use the right mouse button (see 
Figure 5). 

You have just created a spline! We'll create a 
couple more lines in the same Layer. These 
will be used to slice up the window to form 
the shards. 

Use the Sketch tool to create two more 
jagged lines. Keep them spaced and for 
purposes of this tutorial, try to keep the 
line-intersections away from the center 
of the window. Again, use the nght 
mouse button (see Figure 6). 

Swap layers so that Layer 6 is in the 
foreground and Layer 7 is in the back- 
ground. Select the Drill tool in the Tools 
panel (R). Set: Axis=Z; Operation = Slice 
and execute the dnll (see Figure 7). 

Figure 5 

Figure 6 

Figure 7 

April 1997 

Teknhwes 33 

Figure U 
34 Tekwques Aprii 1997 

Sum o{ its Porn 

Each piece needs to be a separate object with a unique name. This 
will require copying each one to an empty layer and saving it, Well 
start with the glass and then do the wood. 

I Open the Polygon Stats requester (w) and select the Wood sur- 
face. Click the "with Surface" + button. Select Hide Sel(ected) 
polygons (Display panel) (-). Starting with the top left piece, cut 
it out, paste it to Layer 8, save it as PieceOl.lwo (S), and clear 
Layer 8 (x). Each piece should be one polygon (see figure 8). Go 
back to layer 6 and repeat the last step for all glass pieces (i.e., 
Piece02.1wo. PieceQ3.1wo, etc.). 

Go to Layer 6 and Unhide (Display panel) the wood. Save each 
- • of these pieces too, continuing on with the preceding naming 
convention. Note: Each wood piece should be two to five poly- 
gons (front and back). The best way to select the pieces is with 
the lasso (right mouse button). 

Laying Things Oui 

It's time for Layout. Before we load any of the objects, we are going 
to add a Null object. All of the pieces will eventually be patented to 
this Null. 

In Layout, open the Scenes panel and change the last frame to 
'-.-' 90, Select "Show All Objects as Full Wireframes" from the Show 
pop-up menu. Turn off OpenGL if it is already on (Options 
panel) In the Objects panel, add a Null. Load all of the objects 
you created, including the wall. Position the camera so that the 
window fills most of the screen. Keyframe the camera in this 
position at frame 0. Parent each of the "Piece" objects to the 
Null (see Figure 9). 

Pivot Point 

The pivot point for each Piece is the Origin (i.e., 0,0,0). This was per- 
fect for loading each Piece in the correct position, but will make it 
more difficult when we attempt to make each Piece rotate as it flies 
out. The answer is to move the pivot point. 

Change to the Front view (this will prevent movement in the Z). 
. You may want to zoom in. Select PieceOl.lwo. Select the Move 
Pivot Pt. mode. Drag the pivot point so that it is neat the center 
of the Piece. You do not have to reset the keyframe (see figure 
10). Perform the above steps for each Piece. 

Move tifid Rotate 

We'll hold the window solid for one second and then break it up over two 
seconds. This will require only three keyframes for the Null and two for 
each Piece Let's do the Pieces first 

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fipi/re 72 

Select the Move mode (you do not want to stay in the Move Pivot 
Pt. mode). Go to frame 30. Select the PieceOl.lwo object. Select 
the Create key button. Select 'All Items" and click OK. Open the 
Spline Controls requester (s) and set: 



Use these settings for all Pieces. 

We will now set the ending position. First, we'll set the Z position for 
all Pieces. Next, the XY for all Pieces Finally, the Rotation, 

Go to frame 90. Select the Top view. Vary the Z position toward 
negative for all of the Pieces. You don't want uniform Z values. 
Don't worry too much if you change the X value a bit. After all 
of the pieces are moved, select any Piece and keyframe all 

Switch to the Front view. Move the Pieces away from the center 
of the window. After all of the pieces are moved, select any 
Piece and keyframe all items. 

Change to the Rotation mode. Use the mouse to set random 
Heading. Pitch, and Bank values for all of the Pieces. Use big 
numbers like 600-1,000, positive and negative. Select any Piece 
and keyframe all items. We didn't have to keyframe all objects 
every time, but if you accidentally hit a wrong key. you could 
lose all your work. Take a look at Figure 11 

Set the Spline Controls (s) for all Pieces at frame 90 to: 
Tension=l. Continuity=0, Bias=0 

Switch to Camera view and do a wireframe preview. You should 
start to see the fruits of your efforts. But we are not done yet! 

Down and Out 

The momentum of the glass, as well as the effects of gravity, will all 
be handled by the Null object. 

Circle #211 


KwTEBiQKES April 1997 





Change to the Side view and move the 
window to the far right. Select the Null 
object. Go to frame 30. Set the Spline 
Controls of the Null object to: 

Tension =1 

Continuity =-1 


Go to frame 45. Move it in the Y to 
about -.09. Move it in the Z to about 
-.73. Rotate its pitch to -22. Make a 
keyframe for just the Null object. Do not 
use 'All Items." 

Go to frame 90. Move it in the Y to 
about -1. Move it in the Z to about - 
1,2. Rotate the pitch to -75. Make a 
keyframe for the Null object 
(see Figure 12). 

Lights, Comern. 

If you need to move the camera or lights, you 
may need to delete the keyframes at 30 and 
90, since we used the Keyframe All option. 

Qnkri changes 

The Z position curve should be relatively flat 
to frame 30. descend quickly to frame 45. and 
slowly move toward frame 90. To change the 
overall movement of the Pieces simply modify 
the Null keyframes. You might move keyframe 
45 a little closer to 30 to get a more explosive 
break or move it more toward 90 to get a more 
dramatic feel. Playing with the spline con- 
trols, YZ position, and rotation will also affect 
things. Use the motion graph to visually get a 
feel for the movement. 

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Figure 2 

If you're a Mac user who is new to 
LightWave, you will notice that it looks some- 
what different from run-of-the-mill Mac soft- 
ware. Rest assured, the minor learning curve 
will seem negligible compared to the immense 
wealth of advanced features to which you will 
gain access. 

LightWave veterans will be pleased to find 
that the Power Mac version is virtually identi- 
cal to its predecessors. It offers the same fea- 
tures, functionality and interface, as well as 
complete file compatibility with all of the 
other platforms. There are, however, some 
notable differences in the way LightWave 
works on a Macintosh. 

System Configuration 

LightWave will operate on any Power Mac 
with a minimum of 24MB RAM, running at 
least System 7.5, QuickTime 2.5 and 
QuickDraw 3D 1.5. These are minimum 
requirements. For increased performance, 
you will want to base your system on higher 
specifications, especially with regard to RAM 
and CPU. 

The screen shots that you see here were 
made on a Power Mac 8500 180Mhz with 80 
MB RAM, running System 7.6. The 17-inch 
monitor was set at 1024 x 768 pixels in 24-bit 


The LightWave installer ships on CD-ROM 
and is "point-and-chek" simple. The installer 
enables you to copy all the necessary files to 
the hard drive of your choice, including soft- 
ware, scenes, objects, images, surfaces, fonts. 
and system extensions. If you already have 
newer versions of the QuickTime and 
QuickDraw 3D system extensions, you may 
want to move them to another directory before 
you do your install, otherwise these files will 
be overwritten by the versions that come with 
the CD. 

LightWave for Power Mac ships with a sleek 
pass-through hardware dongle that fits in- 
between the computer and the last item on 
the Apple Desktop Bus (ADB) chain, typically 
the keyboard. Connect the hardware key only 
when your Mac is shut down. NewTek 

38 NewTekniiues April 1997 

Figure S 

Figure 5 

includes a strong warning not to 
move the hardware key on or off of 
the ADB chain while the machine 
is powered up. 

After installing from the CD, 
there are a number of items to 
check before starting the soft- 
ware. The first is setting 
LightWave's memory parameters. 

Memory Al location 

You can check how much free 
memory is available on your sys- 
tem by selecting "About This 
Macintosh" from the Finder's 
Apple Menu; as of System 7.6. 
this has changed to "About This 
Computer" {Figurel). You will see 
a series of bars representing the 
amount of RAM that each of your 
applications is using, including 
one for the System Software 
(Figure 2], Ideally, you will want to 
quit all open applications in order 
to allocate LightWave's modules 
as much memory as possible. 
Take note of the "Largest Unused 
Block" value. 

Every Macintosh application 
has its own user-definable memo- 
ry partition value, which you can 
access by clicking once on the 
application's icon (Figure 3) and 
selecting "Get Info" from the 
Finder's File Menu (Figure 4). Set 
LightWave's "Preferred Size" to a 
value less than the Largest 
Unused Block (Figure 5), then 
close the Info window. Do the 
same for Modeler, If you're going 
to use both Layout and Mcdeler at 
the same time, cut these values in 
half, Make sure that you do not 
exceed the total amount of memo- 

ry that is available in "Largest 
Unused Block." You should leave 
at least a meg or so available, 
since system resources occasion- 
ally need to increase their memo- 
ry partition. 

System Extensions 

If you wish to reduce the System 
Software's memory partition to 
free up even more RAM for 
LightWave, turn off any unneces- 
sary system extensions and then 
restart your computer. It is advis- 
able to use Apple's Extension 
Manager, or a third-party alterna- 
tive like Conflict Catcher from 
Casady & Greene, to help create 
different start-up sets that suit 
your needs. 

It's a good idea to run 
LightWave with as few extrane- 
ous extensions as possible in 
order to reduce the chance of soft- 
ware conflicts. There is one 
notable exception: NewTek rec- 
ommends installing the Speed 
Doubler extension from 
Connectix, reporting that this 
inexpensive system software 
extension can boost render per- 
formance by up to 25 percent. 

NewTek's Config Maker is a help- 
ful little utility which automatical- 
ly updates the generic "LWConfig" 
and "LightWave Modeler Prefs" 
files to include the correct paths to 
your plug-ins directories. Note 
that the pathway to the NewTek 
folder should not contain any 
spaces in the drive or directory 
names (you may have to re-name 

April 1997 NmTEKHlQUES 39 

Power Macintosh 


Figure 7 

Figure 11 

NewTekjmues Apn! 199 

your hard drive). Once you decide where your NewTek folder is going to reside, 
try not to move it, otherwise you will have to recreate the config files 

Lightwave's config files are editable text files that store (among other things) 
the location and name of every plug-in that Lightwave's modules access. You 
will notice that instead of slashes, the Mac config files use colons to separate 
directory names, so a typical pathway in the config file would look like this: 


The "LWConfig" file should remain in the same directory as LightWave, 
whereas the "LightWave Modeler Prefs" file needs to be moved to the 
Preferences directory inside the System Folder in order to take effect. 

11 {]' Ua/jdIp 1 ' 

You're now ready to start the software. Modeler loads very quickly and can be 
launched in three different ways: 

• Double-click on Modeler's icon 

■ Double-click on a LightWave object's icon 

• Drag a LightWave object's icon onto Modeler's icon and let go 

One of the principal differences between Mac LightWave and the versions for 
other platforms is the use of QuickDraw 3D (rather than OpenGL) for real-time 
shaded views. To turn on the QuickDraw 3D shaded preview, press "d" for 
Display Options and set the Preview Type to QuickDraw 3D Smooth {Figure 6). 
Obviously, you should have an object loaded to look at. If at any time you find 
the refresh on the wireframe view is holding up your shaded redraw, try clicking 
inside the QuickDraw 3D view to force it to be updated first. Shaded redraw 
speed can be increased significantly by adding a QuickDraw 3D graphics card, 
with entry level models costing only a few hundred dollars. 

While you're getting used to the software, it's a good idea to bump up your 
undo levels. Press "o" for Data Options and set the Undo Levels to 15 (figure 7). 
then close the panel. As of this writing. Modeler supports the Macintosh clip- 
board for cutting and pasting text into entry fields, and supports cutting and 
pasting ob|ects via a 3DMF plug-in. The 3DMF format will also be used to imple- 
ment import-export functions between Modeler and Layout. 

Figure 10 

Three Blind Mice 

Since Macs come standard with a one-button 
mouse, a number of the functions that use 
multi-button mice on other platforms required 
creative changes in the way things ate han- 

dled- For example, to select points or polygons 
by encircling them freehand, you need to hold 
down the command key (otherwise known as 
the Apple key) while dragging your mouse 
(figure S). To move your window view around. 

hold down the option key while dragging with 
your mouse. 

Some operations have more than one corre- 
sponding action. For example, there are four 
different ways to open an object from within 
Modeler — you can press "1". command-"l", 
command* "o" or you can click on Load in the 
Objects menu. Also, there are three different 
ways to cut an item — either press "x", or com- 
mand-"x", or click on Cut at the bottom of the 
screen. You can exit the software by pressing 
either shift- 'q" or command-"q". 

Although many Mac applications use the 
shift key to constrain movement along an 
axis, Modeler uses the control key for this 



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Power Macintosh 



One of the other differences between 
LightWave and generic Macintosh applica- 
tions is the way that Modeler currently han- 
dles the importing of scalable typefaces. 
Modeler reads fonts out of the NewTek direc- 
tory rather than out of the System Folder. The 
PostScript Type 1 fonts that currently work 
with LightWave need to be in a PC-compatible 
format. If you try to load an outline font from 
the System Folder, Modeler will respond "not a 
Type 1 font", it means that the typeface is not 
a PC Type 1 font. 
So, for your current font needs, you can: 

Iuse the Type 1 PC fonts that ship 
• on the LightWave CD; 



transfer Type 1 fonts from a PC-compati- 
ble system or CD library; 

convert your typefaces that are in 
• Macintosh Type 1 or TrueType format to a 
PC format by using a font conversion pro- 
gram such as Fontographer or 

Ur|( Ifiyoiu 

Layout, like Modeler, uses QuickDraw 3D for 
real-time interactive shading. There are two 
steps to see a shaded view. 

1 Activate the "Use QuickDraw 3D" toggle 
. under Layout View in the Options panel 
{Figure 9): 


Specify which objects should use "Full 
Solid" shading in the Scene panel pop-up 
menu labeled Show (Figure 10). 

A third option that influences the look of the 
real-time shading is the Smoothing button in 
the Surfaces panel [Figure 11). 

This option is set on a surface-by-surface 
basis. If you do not have this option turned on 
for a given surface, that surface will look 
faceted. While you're m the Options panel, 
you will want to set your Content Directory 
path. Click on Content Directory, then navi- 
gate to where you saved your NewTek folder 
and select one of the text files inside. This lets 
LightWave know where to find all of the cor- 
responding Scene, Object, Image, Surface, 
Motion, and Envelope directories 

As with Modeler, Layout uses the com- 
mand key to modify mouse behavior m the 
absence of more than one button. Typically, Y 
axis transforms (such as move or stretch) and 
Bank rotation requires that you hold down the 
command key while dragging the mouse. 
Without the command key, the mouse only 
affects X and Z axis transforms, or in the case 
of rotation, Heading and Pitch, 

Similarly, when in an envelope or motion 
graph, you will need to hold down the com- 
mand key in order to drag keyframes horizon- 
tally ci scroll the graph vertically 

Rendering and Viewing 

Rendering is very speedy on Power Macs. 
NewTek includes a set of impressive bench- 
mark render times in the readme file. 

Quick hint: as with any other version of 
LightWave, turn off both "Show Rendering in 
Progress" under General Options and "Render 
Display" under Record in order to keep render- 
ing times to a minimum 

42'INwTekwoues April 1997 


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QuickTime is the primary format used for 
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PowerMac Plug-Ins 

Many of the basic Layout and Modeler plug- 
ins available on other platforms have been 
ported to Power Mac. including a number of 
the image savers and loaders. 

If you find that a particular plug-m is not 
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As more and more plug-ins are developed 
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Circle #216 




A Ryer technique 
for an old Toaster 

trick using the 
Toaster's GPI input 

Accurate fifing titles for the flyer 


Users of the Video Toaster with software revisions through 3.5 became accustomed 
to using the Toaster's Superimpose bus in combination with Toaster effects to fly 
titles on and off the screen. With the advent of the Flyer, however, many old 
Toaster tricks require different techniques. Flying titles is one of those tricks. Many editors 
have resorted to using a second Toaster, controlled by their linear edit controller, with the 
program out-wired to the Flyer, in order to get those flying title sequences into the Flyer. 
Those without a spare Toaster have to resort to "punch and crunch" editing while digitizing 
to generate a flying title. Others create a title animation in LightWave using the digitized clip 
over which the title must fly as a background sequence. 




■ 1 \P 1 3 [ *j T ovi [ oval bks^I 

do f.'vii ii:mj niii.wj 

H U 9 - 1 ~ 

Figure 1 

II *'~i- C ' "*c 

E32B I l-.IJIUMJHI'ii.l 9SMM3JCM [23 £ki iHJkflSSo 

1 t I ? [ 3 1 4 1 nvt [ovalaKB^I 

E233 uwonn nHiK »■ ■■' i™yt&S 

figure 2 

All these methods work most of the time, 
but what about the time when you need that 
title to begin just as that lightning 
bolt hits, or end just as the foot of the 
latest Bruce Lee incarnation cracks 
those high prices down to their 
"Lowest Sales Prices Ever" and there 
isn't time to design and render it in 
LightWave? That's when the Video 
Toaster's GPI comes in handy. 

With the GPI input, and a time- 
code based trigger, you can quickly 
create clips with flying title 
sequences and frame accuracy for 
use in your Flyer projects. 

A Short Review 

A review of the "punch and crunch" 
method of creating flying title clips is m 
order, since the GPI method is almost 
identical in set-up. Our example and 
accompanying figures assume that you 
already have a key page title created 
with a white tide, black outline, and 
semi-transparent drop shadow. 



We will use the first two effects in the 
Toaster: Effects/Trajectory folder. 
' Curving Fly In" (CFI). and, "Curving Fly 
Out" (CFO). to fly the title on and off the 
screen. To start, from the "Project/Files" 
view, drag CFI and CFO into the project 
bin. Now return to the "Project/ 
Switcher" view. 

Select the DV buffer on the Preview bus 
in which you want to place your key page 
title, and select the remaining DV buffer 
on the Main bus, then return to the 
'Project/Files" view. Locate the key page 
you want to fly with the CFI and CFO 
effects, and double click on it to load the 
title into the DV buffer you selected on 
the Preview bus. 

Return to the "Project/Switcher" screen. 
Be sure the DV buffer containing the key 
page is selected on the Preview bus (our 
example uses DV1). Select the input on 
the Main bus for the source video over 
which the title will be keyed 

44 NewTirniQUES April 1997 




The Superimpose panel, on 
the Switcher screen, must be 
set so that the CFI effect will 
fly the title onto the screen. 
This entails finding the cor- 
rect clipping level and key 
mode (key black or key 
white) so that you get the 
cleanest possible key for the 
title and video you are using. 

Begin running your source 
footage over which the title 
will be keyed. On the 
Superimpose bus, select the 
DV that contains the title, and 
select the Key Black mode 
(button with black filling). 

Place the mouse button over 
the clipping level value (first 
row on the Superimpose bus), 
click and hold the left mouse 
button while you move the 
mouse up or down to select 
the clip level which provides 
the cleanest possible key 
over your source video. Once 
you have the clip level set, 
click the Superimpose bus 
Off button to reset the super- 
impose source selection. 
Then click the Key Black but- 
ton again to arm the 
Superimpose bus. 

Select the CFI crouton in the 
i project bin (single click) and 

Making o GPI Mouse Port Adapter 

The General Purpose Interface (GPI) is an event triggering option that is available on 
most edit controllers. NewTek took advantage of this in the design of the original 
Toaster software so that traditional controllers could trigger the Toaster Switcher 
effects without having any direct software connection to the Toaster. 

The GPI "cable" is generally nothing more than a cable with RCA connectors at both 
ends. For use with the Video Toaster, the RCA jack has to be adapted so that the GPI 
pulse is presented to pin 6 of mouse port 2 on the host Amiga. 

It is easy to make a 9-pin mouse port GPI adapter using a standard female 9-pin mouse 
port connector, a short piece of single conductor-shielded wire (be sure the shield is 
braided wire, not fail), and a female RCA connector. 

As depicted in the diagram, attach the RCA connector to the 9-pin using the coaxial 
wire so that the shielding connects the ground side of the RCA connector to mouse 
port connector pin 8. Connect the central wire of the coax to the hot lead of the RCA 
connector (the center tap) on one end, and to mouse port connector pin 6 at the other 
end. Be sure that no stray strands of the braided shielding is in contact with the RCA 
jack center post, the central wire, or mouse port pin 8, 

If you have an Ohm meter, it would be a good idea to check that pin 6 and pin 8 are 
totally isolated. You should also check that there is a no resistance between pin 6 and 
the outside edge of the RCA connector, and likewise no resistance between pin 8 and 
the inside tap of the RCA connector. 

With the Amiga powered down, plug the adapter into mouse port 2, and a GPI from 
your edit controller into the adapter. Note that an improperly wired connector and con- 
necting or removing connectors on any of the Amiga ports when it is powered up can 
damage your machine. Instructions for making this connector appear in pre-Flyer Video 
Toaster documents as an appendix but were dropped from the original issue of Flyer 
release documents. NewTek Tech Support informed me that the GPI connector informa- 
tion printed in the Toaster documents prior to Toaster 3.0 release was wrong and that 
the wiring diagram included with early versions of the RGB GPI adapter kit were also 
wrong. So, if you are going to build this connector, be sure you use the description pro- 
vided here or in the later Toaster documents. 

1997 TtMiQUES 45 



check that your video source is selected 
on the Main bus, and the DV buffer with 
your key page is selected on the Preview 
bus. Your screen should look something 
like Figure 1, Hit the shift and tilde but- 
ton (looks like — ) to bring up the "Record 
Raw Footage" panel. Select the appropri- 
ate digitizing quality and the Flyer video 
dnve on which to save the clip. Be sure 
you set the Source button to Main Out. 

You are ready to roll the source tape. 

■ Once the pre-roll has started, begin 
recording by clicking on the record but- 
ton. At the point where you want the title 
to fly on, click the "Auto" button. Let the 
dip record a few seconds beyond the 
point at which you plan to fly the title off 
the screen, then stop and cut it. 

The set-up to fly the title off is just a little 

■ different than it was to fly it on (see 
Figure 2). In this case, aside from select- 
ing the CFO crouton in the project bin, 
you also want to have the DV in which 
the key page resides selected on the 
Superimpose bus. The title should be vis- 
ible, keyed over the video on the main 
out. If not, click once on the Key Black 
button on the Superimpose bus control 
panel to make the title visible, 


Record again, restarting your source 
. footage from the same point as for the fly 
in, but this time click the Auto button at 
the point where you want the CFO effect 
to occur. Stop recording and cut your clip 
as before. 

The finishing Touches 

When keying a digital source over an analog 
source or other digital source, you can't get a 
completely clean key on the right-facing edges 
of the graphic. During the fly-in and fly-out, 
this edging can't really be seen by the naked 
eye unless you've done a bad job at selecting 
your clipping level If you hold the title in place 
for any length of time, however, there may be 
more dot crawl visible than you'd care to see. 
The remedy is simple. 


Put the key page crouton in the project 
bin, and select (single click) it before 
recording. This will pre-load the CG page 
into the Preview bus. Now start recording 
the source material from a point before 
the fly-in occurred. As soon as recording 
starts, click the Auto button. You should 
see a nice clean key of the CG page over 
the source material. Stop recording a few 
seconds after the point at which you trig- 
gered the fly-out. Cut this "hold clip" so 
that you keep a synchronizing event com- 
mon to the fly-in. and fly-out, clips. Now 
you can remove the effects croutons and 
the CG crouton from the project bin. 

Place the three clips so that the fly-in 
. clip is first, the hold clip second, and 
the fly-out clip is last in the project bin. 
Trim the fly-in so that the out-point 
occurs just on the last frame of the fly-in. 
Trim the fly-out so that the in-point is the 
first frame where the title begins its move 
to off-screen. Use the synchronizing 
event to trim the hold crouton's in-point 
and out-point so that the underlying 
video plays seamlessly across the bound- 
ary from the fly-in clip through the hold 
clip, and into the fly-out clip. 



When Accuracy Counts 

The "punch and crunch" method of creating 
flying title clips works quite well until you 
need title motions that must start or end at a 
frame. But if you have a reasonably good pro- 
industrial edit controller laying about, you 
have most of what you need to trigger transi- 
tions accurately on the first try. 

Virtually every edit controller designed to 
work with industrial or professional broadcast 
equipment has at least one GPI trigger output. 
Many Video Toaster users will have an 
AmiLink system that is based on the 
VideoMedia VLan transceiver card. There is 
one GPI available on the VLan card. RGB, the 
creator of the AmiLink software, sells a small 
kit that includes the wiring to bring the GPI off 
the board to an RCA connector that can be 
mounted on a card-slot back plate at the rear 
of the computer. The kit, as depicted in Figure 
3, also contains a six-foot cable with standard 
RCA audio connectors at both ends. You have 
to provide an RCA-to-mouse port adapter sim- 
ilar to the one shown in the figure (see the 
side-bar, "Making a GPI Mouse Port Adapter"). 

Assuming that mouse port 2 is properly 
connected to the GPI tngger output of your 
edit controller, you are just about ready to fly 
titles with precision 


First you have to enable the Flyer to 
receive the GPI trigger from the Flyer's 
"Toaster Setup" panel which you can 
invoke by either selecting the "Hardware 
Setup" option of the "Tools" button, or by 
pressing the F10 key, For the "GPI 
Remote Trigger" option select either the 
"Pulse Front" or the "Pulse Back" option 
This selects the leading or trailing edge 
of the GPI trigger as the event on which 
the Toaster effect will be tnggered. The 

45 TfMlOUES April 1997 


• The Complete Video Toaster 

August 11-12 * November 5-6 

• How to Get the Most Out of 
Your Toaster 

September 22-26 

• Flyer in Production Essentials 

May 9-11 * August 14-15 • November 7-9 

• LghtWave 3D Essentials 

April 18-20 • August 18-19 • October W-12 

• Advanced LghtWave 3D 


June 20-22 • August 20-21 • October 73-14 

• Organic Modeling & 
Character Animation 

August 22-23 


pert instruction by NewTek's 

Bob Anderson in the 

Washburn University/ NewTek 

Technology Center 

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difference between the two 
amounts to about a field of 
video, so this can be used for 
fine-tuning the trigger event. 

Set up your edit controller to 
• trigger a transition so that 
the title fly-in starts or ends 
precisely at an easily distin- 
guished frame of your video. 
Most edit controllers will let 
you set the GPI to occur at 
some off-set from the in-point 
of the edit. You should set 
the edit up so that the 
source's pre-roll starts a little 
before the portion of the 
video you want to keep as 
the title fly-in clip. 

Some edit controllers wont 
allow you to run this edit 
event without rolling tape in 
a destination deck. I usually 
put a scratch tape in the edi- 
tor for this purpose Also, 
when you start to roll tape, 
your controller may bump the 
source to keep it in sync with 
the editor. This usually hap- 
pens only once or twice in 
the first second or two of the 
pre-roll. Set the edit event in- 
point so that you can start 
Flyet digitizing after the like- 
lihood of any synchronizing 
bump has passed. Instead, 
you can set the controller to 
sync to the source instead of 
the edit deck if available 
(thus bumping the editor). 

Set the Flyer project bin and 
Switcher screen up just as 


we did for the "punch and 
crunch" set-up depicted in 
Figure 1. Hit the shift and 
tilde key to bring up the 
"Record Raw Footage" panel. 
Have the edit controller initi- 
ate the edit. Once tape is 
rolling, click the record but- 
ton on the Flyer to com- 
mence digitizing Stop digi- 
tizing at the appropriate 
point and cut the clip to disk. 

Put the clip in the project 
i bin. Open the clip control 
and look at it using the m- 
point or out-point slider to 
locate the frame to which 
your fly-in should have syn- 
chronized. If the transition 
was off with respect to that 
point, adjust the GPI trigger 
time in your edit controller 
edit list. The offset is likely 
to be a constant based on 
your system, and it is a 
number you should write 
down. Use that number as 
the offset between where 
the GPI trigger must be initi- 
ated and where the event it 
triggers actually occurs 
every time you use this 
method. With that number m 
hand, you can configure all 
GPI-triggeied transitions 
after this to happen exactly 
at the frame you intended 
them to happen. 

To complete the flying title 
sequence, set the Flyer up 
as we described for Figure 2. 
Set your edit controller to 
toll tape and issue the trig- 

ger for the fly-out segment. 
Again, digitize, allowing the 
GPI to trigger the CFO effect 
instead of using the "Auto" 
button to trigger it. The hold 
segment can be created by 
the "punch and crunch" 
method. Create and save the 
flying title "sub-project" as 
described previously and you 
are done! 

GPI use with the Flyer is not lim- 
ited just to flying titles. You can 
use the GPI trigger and three-seg- 
ment sequence approach to cre- 
ate long superimposes between 
two sources, to trigger any transi- 
tion or effect with frame accuracy, 
or to control the Switcher as if it 
were still part of a linear edit sys- 
tem while you digitize the "Main 
Out." It really doesn't require an 
edit controller, either. All you need 
is some way to generate a GPI 
pulse based on the time code out- 
put of your source deck. 

With the GPI capability, Flyer 
users need not be intimidated by 
these projects that may require 
accurate keying, compositing or 
moving titles when they are faced 
with too little time to use 
LightWave or other rendering tech- 
niques. Using the GPI, a creative 
editor can efficiently accomplish 
certain tasks the Flyer sequencer 
cannot handle on its own. 

Wayne M. Cole is the proprietor of 
infinity Heart Productions, in Santa 

Barbara, California. He may be 
contacted via email at 

48 NtwTEKNlOUES April 1997 


[ you have an image you would 
like considered for publication 
in HewMoitjues magazine, save 
it as a -TIF file anri mail it to: 

GARY JUfllO— "Cool Mining" mm 


Software: lightwave 5.0 and Adobe Photoshop on a Pentium Pro 
imk running Windows NT 4.1 

Description: This is a work-in-progress Itial will soon be a 
tee-minute oiece thai I am trying to gel ready for entry 

Phone: (713| 493-5SB3, e-mail: lliroli@wnrldnet.att.nel 


Software: lightWave 5.0 

Description: This was the first real image I made with lightwave 
I used it lo explore most of the modeling capabilities and to try 

to create an aesthetic image. 

e-mail: dlaloniac- uucsd.Edu 


Software: lighlWaie 5.0 and Adobe Photoshop 

Description: This is a model I created in ray spate time. Sixteen 
dilleient Morph targets give the mode! its emnlions and pho- 
netics. MelaFoim was used exclusively. No MetaHurhs. 

Phone: (60!) 482-7468, e-mail: bnaal@rainho.con 

Software: lightwave 5.D oo an Amiga 040 

Description: this is pan ol a 1.200-frane animation about the dangers involved with Mobile Transport Systems in underground cnai mines used all ever the U.S. 
This film will be available te Ibe coal industry Ihiougb the Vine Safety and Health Administration out of Berkley, W. 

Phone: 1618)433-81 1 1, e-mail: ujanellncirrn/chnire. net 

1038 W. Harvard Blvd. 
Roseburg. OR 97470. 

You may also e-mail it to 


iJeivIeknitjties only publishes 
images that have not appeared 
in any other publications or on 
the World Wide Web. 

Be sure to include your name, 
phone number, and a description 

of the image when submitting it. 

ma gray - 


"My Wedding" 
sas created in IPjinl 4.1 
v.-iih the image of my wife 
andlgiabbednialhe flyer 
from a video dip oloui wed- 
ding, fhe Flyer easily allows 
me it graii any iraaga and 
import it into IPsinl or any 
other graphic program, fl's 
the periEd companion (or 
graphics work! 

ffiiierSaimail oei 







A LightWaue 

1 with grace that 

will make itsell 




Prein Subrahman/am 

SBB (Amiga b SGI) 



Circle Number 100 





Surface Effectors I. 

ow often have you needed a certain effect only to discover that to do it requires a 
series of convoluted workarounds? Surface Effectors I.I. by Prem Subrahmanyam. 
lends grace to so many projects that you'll easily find it indispensable. 

pay for an incredibly useful plug-in coded by 
animators, however. 

The documentation was clear and concise, 
though it was lacking a table of contents and 
index. This is apparently being addressed in 
future revisions. Technical support by e-mail is 
stellar. 1 always received replies within an 
hour or two of sending a question. There is 
also a very informative web site. 

Assuming you would rather be golfing than 
setting 20 morph targets and object replace- 
ment files, go buy Surface Effectors 1.1 right 
now. It is a steal at SI 00 

The short version of Surface Effectors goes 
like this: Null points can control object sur- 
faces. This is absolutely essential. After you 
use it once, it will quickly become the next 
"how did 1 live without this 1 ' item (like your 

The learning curve is quick, especially if 
you read the manual first. I learned most of 
Surface Effectors in a couple of hours and it 
worked perfectly. Once integrated, fades, 
trails, burns, skids, blushes, and reveals 
become trivial. Surface Effectors performed 
exactly as advertised, and then some. After 
working through the helpful tutorials, I was 
quickly doing my own scenes. For character 
animation (my favorite), why settle for static 
surfaces? I found Surface Effectors to be the 
answer to a silicon character's prayers. 

My experience with the software was not 
without minor complaints. I initially found the 
interface mildly 'clunky' in that the surface 
parameters are controlled by the surface 
names. A 'clunky' interface is a small price to 

ClubToaster CD-ROM Library 

Having been a subscriber to the ClubToaster CD-ROM library for the past year, I was 
pleasantly surprised to see what Dimension Technologies has in store for year two. 
The first thing I noticed about issues 13 and 14 was the inclusion of an index for 
the previous year's 12 issues. This is a great help when trying to find that "perfect" texture 
map, graphic board, animation or sound effect. 

Another nice feature is the ability to audi- any normal CD player. In addition, all the data 
tion all the sound effects and music tracks on can be easily installed to your system with the 


WaveNet Pro 


Effectors 1.1 







Club Toaster 
CD-ROM Library 

Audio Thunder 

Surface Effectors 1 1 
from Prem 

Subrahmanyam makes 
fades, trails, burns, 
skids, blushes and 
reveals in UghtWave 
much simpler to 


Dimension Technologies 

$3.95 per CD (payable 12 
issues in advance) 

Circle Number 101 

50i[NrwTEKNmu!S April 1997 

Club Toaster wo 

handy install interface. Also new 
is color fonts which come in three 
point sizes. If that's not enough, 
they've also added Flyer FX wipes 
in addition to the regular Club 
Toaster wipes. The drawback is 
that you need to purchase the 
Flyer FX software to use them. 

So what else is in each issue of 
Club Toaster? To begin with. 
there is a music track and some 
sound effects as well as nine tex- 
tures. There are also five color 
Toaster wipes and five matte 
Toaster wipes. I have already 
used "handshake" in a corporate 

segment where 1 wanted to con- 
vey cooperation between two 
departments. I'm not sure what 
application I can use the "Flying 
Pig" wipe with but, hey, one 
never knows. There are four ani- 
mated backgrounds and nine 
graphic boards included on each 
CD which could be used for a 
variety of production needs. 

It is a good beginning for "Year 
2" oi Club Toaster. Dimension 
Technologies needs a good year 
as they have fallen behind on 
promised deliveries of their prod- 
uct, although they have assured 
NewTekniques that they are rush- 
ing to get caught up. 

WdveFilter Net + 



aveFilter Net + , by Unlimited Potential is an easy-to- 
use plug-in that adds a variety of effects to LightWave 
3D rendered images. 

When you select the plug-in 
from the Effects panel, a screen 
lists all the effects. By choosing 
filters and the percentage value 
of the effect, you can apply the 
result to each rendered frame. 
The effects can be applied to the 
whole scene, objects, back- 
ground image, shadows, or col- 
ors. These settings can be saved 
and loaded, which 1 found to be 
very useful 

The first group of WaveFilter 
Net+ effects control the color and 
appearance of an image. There 
are controls for RGB values 
Brightness, Gamma and Contrast. 
These are handy for things like 
color-correcting images for com- 
positing. With Blur, you can simu- 
late out-o:-focus effects. The 
Antiahas function, when com- 
bined with the Antiahas controls 
in LightWave, give similar results 
to higher levels of LightWave's 

Antiahas with lower rendering 
times. Special effect filters 
include Noise, Postenze. Black 
and White, and more. There are 
also filters that aid in creating clip 
maps and alpha files to make 
image compositing easier 

It is possible to animate the fil- 
ters. WaveFilter Net+ comes with 
scene files that include null 
objects to control each filter. 
Moving a null on the Z-axis 
changes the value of the parame- 
ter. By keyframing the nulls, ani- 
mated effects like fades, rack 
focus, and color changes can be 
created. This offers animators 
many new capabilities. 

The collection of filters is very 
useful, everything is easy to use, 
and the results look great. 

The program ran flawlessly on 
a single computer and over 
ScreamerNet. I would recommend 
it to all LightWave users. 





Burnt Pixels 

S45 (Intel) 


order address: 

24451 Labhore Bid, 

Suite #U 18 West, 

Euclid, OH 441 Z3 

Circle Number 102 


WaveFilter Net -r 

$499.95 (Intel 6 Alpha} 
$179.95 (Amiga) 


Circle Number 103 

LightWave users wanting to realize their 
3D animations can choose Digital 
Video editing cards ranging from S-VHS 
to full broadcast quality devices. These boards 
usually use a compressed AVI, (Audio/Video 
Interleave), file format for full motion video. 

To use these cards, however, animators have 
to save Targa frames onto a large storage drive, 
and then use the card's editing software to 
import the frames into an AVI file on the "video" 
drive. If you wanted to map captured video onto 
LW objects, you'd have to convert the AVI with 
the edit software, then use the frames in 
LightWave. As each frame is around 1.2MB in 
size, a 60- second video sequence at 30fps 
would have used 2.1 Gigabytes on the storage 
dove The equivalent AVI is only 200MB! 

With the Newtek_AVI saver, it's possible to 
save an animation directly to the card's 
"video" drive. Now, with the AVILOAD plug-in 
from Burnt Pixels, the final piece of the video 
puzzle is in place. LightWave can treat AVI 
files as if they were frames, without the 
tedious conversion outlined above. 

To access the AVI, AVILOAD has to gener- 
ate reference "frame" files (.firm's). These are 
automatically created in a sub-directory when 
you first load an AVI through the LOAD 
IMAGE button in LightWave. Unless you 
rename or move the source AVI. you don't 
have to repeat this procedure. After mapping, 
you can use video or previously rendered ani- 
mations as backdrop sequences, CGI charac- 
ters interacting with real-world environments, 
or even moving images on the filmstrip object. 

AVILOAD saves both time and drive space 
and should be considered an essential tool for 
video/image mapping. 

This imsge shows the use 
of WaveFilter Net+ 
Depth of Field Blur and 

April 1997 KwTemiques 51 

WaveNet Pro 


WaveNet Pro, by ATR Solutions Inc., is a standalone 
replacement for UghtWave's ScreamerNet control panel. 
WaveNet Pro runs independent of LightWave. allowing 
you to control standard ScreamerNet II network nodes. 

Advantages over Lightwave's 
built-in control panel include the 
ability to add or remove scenes 
and rendering nodes on the fly. 
Scheduling unattended rendering 
projects to start and stop at desig- 
nated times and dates is another 
advantage. A time log is also 
rncluded in WaveNet Pro, allowing 
you to keep track of total rendering 
hours and user-definable rates. 

One of WaveNet Pro's most 
outstanding features is Pager Pro, 
which uses a standard modem to 
page you with numeric status 
codes about your render, allowing 
peace of mmd while you are out of 
the office. 

Installation was quick and trou- 
ble free. The program is very sim- 
ple, intuitive, and the hyperlinked 
manual is available on-line at any 
time. I set my content directories, 
launched ScreamerNet, loaded a 
few scenes and was off and 

The performance improvement 
over LightWave's ScreamerNet 
controllei was immediately notice- 
able. WaveNel Pro doles out 
instructions to all the nodes at one 
time, instead of waiting for one 
to load before moving on to the 
next one. 

Included with WaveNet Pro is 
Jump Starter, a handy little applet 
that automatically launches 
ScreamerNet on remote machines. 
This is a life-saver for larger render 

Overall, WaveNet Pro is a stable 
and efficient piece of software The 
only bug 1 encountered is being 
addressed in a new version avail- 
able by this printing. WaveNet 
Pro's MSRP of S399.95 for the base 
5-node package might be a little 
steep for home animators, but for 
professional LightWave users with 
high budgets and tight deadlines, 
WaveNet Pro helps assure you a lit- 
tle peace of mmd. 

RenderFX is a Flyer 

plug-in which adds 

infinite layering 

capabilities without 

quality loss. 

WaveNet Pro 
from ATR 
Solutions Inc. is 
a replacement 
for the 

control panel in 



$333.35 (Win-NT. Intel) 



Circle Number 104 





800-930-2646 or 

Circle Number 105 



How many times have you been play- 
ing back a project with the Flyer, 
sometimes while your client is sit- 
ting next to you, when the Fiyer stops and a 
screen pops up reading. "Effect starts too near 
the beginning of the previous video event. . .?" 
The guys from ProWave have resolved this 
problem and more with the introduction of 
RenderFX. This program converts any Flyer 
transition or overlay to a Flyer clip through 
batch processing and it does it fast. 

The most impressive feature of RenderFX is 
the ability to add infinite layering capabilities to 
the Flyer with virtually no quality less. Another 
impressive feature allows control over the T-Bar 
to perform split screens, half dissolves, and par- 
tial transitions. RenderFX also allows you to 
stamp any Overlay effect, such as the swinging 
Wedding Bells, onto your Flyer clip. This means 
you don't have to record an Overlay Effect at the 
same time you are dumping the original 
footage into the Flyer. One last Arexx script that 
comes with RenderFX enables you to reverse 
almost any Toaster effect by controlling how it 
records the transition 

Rather than developing another interface. 
RenderFX operates within the Flyer and lets 
you do all the things you used to do with your 
Toaster before the Flyer, If you're familiar with 
Co-Pilot Audio and Video. RenderFX uses the 
same Road Signs principle. Internet users will 
be happy to know they can receive timely and 
automatic updates via e-mail. I find RenderFX 
to be a welcome addition to any Flyer suite 

52 NwTemiques April 1997 


^P/T^fS) Finally, a TCP/IP internet 
\ Sp \j connection for your Amiga that 
doesn't take a Rocket Scientist to 

Aca&v/mit! D*fy S49.9S 

Step 1 : Call an Internet Service 

configure and use! 

Provider(ISP) to obtain an Internet account pHMIFH 

Enter your ISP User Name, Password and, 
Phone number in Termite TCP's GUI 
Step 3: Click on "Connect" 







Yes, it really is that EASY! 

: HS| e Settings 



! Settings As... BO ft 
Settings... €3L 

EI Comprehensive and fully indexed 150+ poge printed manual takes the mystery out of the Internet! 

El Runs on ANY Amiga with Kickstart 2.04 or above EI Optimized PPP support with PAP/CHAP built directly in 

El GUI telnet, ftp, and e-mail clients supplied. El Programmers Developers Kit provided for third party clients 

EJ Patch library allows AmiTCP clients to work with Termite TCP EJ Now includes regular Termite VI .1 2! (upgradable to VI .21 ) 

Termite TCP is smaller, easier to use, consumes fewer system resources, and is faster online than any alternative. The provided clients, written documentation, 
and regular Termite make it the ONLY one stop telecommunications solution for your Amiga. Competitive upgrades ore avaMe from ArraTCP or /&mi\* proof of purchase. 




Supercharge your Internet exgerience with the Professional Client Series. These are professional ve'sions of the 
internet clients supplied with ;ermite TCP that give you the power and flexibility to increase productivity (and fun)! 

Termite Mai! PRO is ihe complete e-mail solution for single users or businesses alike with powerful features like multiple 
moil box support, automatic e-mail posting and retreival, flexible addressbook, macros, ond drag & drop mailing. $39.95 

Termite News PRO helps you keep your finger on the pulse of 'he Amiga, or whatever speciol interest group 
you're interested in! Complete Network News management system. Retreive, read, post, and archive news 
articles, Complete Newsgroup list maintenance, unique Newsgroup monitor mode. $29.95 

Termite F 3 PRO includes the complete FTP command set and adds exciting features like dual 
director/ view and drag and drop file transfers, $29.95 

Termite Telnet PRO extends the standard telnet client to include features like editable review buffers, 
programmable keyboard macros, ond zmodem file transfers! $29.95 

Each member of the Professional Client Series will run under AmiTCP, Miami, or TermiteTCP. They are available seperately or together as part 
of the ProSeries Client Pack, which also include additional bonus clients for only $79.95. 

Keep An Eye On The World With 


THE Web Browser for Your Amiga 

El Easy to use and highly configurable GUI. Flexible onrj fun to use/ 
A Supports Frames, Table, multiple windows ond connections El Includes MUI. 
El Multi-level hotlists ond fastlinb make surfing the World Wide Web a breeze! 

Revisit your favorite sites with the click of the mouse. 
El Supports local disk caching. Caches oil poges, images etc. to make revisiting your 

favorite Web poges instontoneous. Fully optimized for incredible performance. 

El Supports HTML1-3 ond Netscape extensions, http:, ftp:, mailto: 

El Modular design makes supporting new HTML modes and extensions easy. 

El Displays GIF, TIFF, JPEG etc images w/ datatypes(requires WB3.0) 

El View HTML documents without TCP stock active 

El Supports Termite TCP, AmiTCP, ond AS225 Rerioi price: $49.95 

Let Termite TCP, Pro Series Clients, and IBrowse help you experience the excitment of the Internet! 

Col! for very special Internet bundle pricing. arch #219 

©firMirSin n f\ Ja\ l"R\ ^ ers ' on 3 Upgrades are now available. Also exciting new Cinema 4D addons: 
Itvl 'I Ml/ \ kablOJ Cinema World is a flexible and powerful auto-mafic world and terrain generator; 
U U\J lSUuU*A* TJ Im/ Cinema Font a large collection of scalable 3D Postscript fonts. A 4D world awaits 

liaiSM] ®® Efl[F>[!@ 

Video CD MPEG Player 



ia | Speaking of great things getting better. Squirrel Zip Tools 

now fully supports both the Zip and the new Iomega Jaz 

A supurb new program for designing and playing impressive DrivK^pgrao^sorearailable. 

Multimedia presentations on your Amiga^The interactive drag&drop jJl^^fJS^S^fs 

" graphics BiluuO Hi (uijwffi J A Miuly ' 
ormats & cards. Everything that is except the high price! 

1 6200 S.W. Pacific Hwy, Suite 1 62, TigoirJ, OR 9 7224 Orders/Info: (503) 62049 1 9 FAX: (503) 624-2940 Internet WWW: 


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In Europe contact HiSoff or +44 1 525 71 81 81 






Circle Number 106 

AV8R provides 

different color 

hash marks lor 

timing purposes 

in 1 second, 

10 second, and 

60 second 


AV8R, by MegageM. is a well- 
planned editor fof the Video 
Toaster Flyer that is based on an 
Edit List 6 Time Line Display. AV8R elegant- 
ly picks up from where the Flyer stops by 
making it easy to visualize and edit a Flyer 
project in real time and in a non-destructive 
manner, which is an invaluable asset if you 
are only experimenting with changes. 

AV8R is an intuitive program with features 
such as keyboard hot keys, mouse controls, 
and color-coding schemes to help identify 
audio from video clips or stills from effects. 
With the click of the mouse button you can 
easily set in and out points for the video or 
audio-only sections of a mixed clip or precise- 
ly sync audio to video, a capability which the 
Flyer does not furnish. AV8R also provides dif- 
ferent color hashmaiks for timing purposes in 
1 second, 10 second, and 60 second incre- 
ments. Furthermore, it has shuttling capabili- 
ty with speeds of 1X/5X and jog forward or jog 
reverse buttons for more precise edits. In 
addition to the above, expect a number of 
below-the-surface features, such as the capa- 
bility to print 
your final edit 
list for safe- 

The only neg- 
ative thing I can 
say about AV8R 
is that it doesn't 
go directly back 
to the Flyer 
screen via a 
mouse command or hot key You have to 
implement the left-Amiga-M combination 
two times to get there 

Be sure to read the manual and the readme 
files which come with the program. They are 
well-written and full of useful information. 
They can give you logical solutions to per- 
ceived problems. 



Audio Thunder is 

the definitive 


conversion and 

batch processing 


According to Asimware Innovations. 
Audio Thunder is the definitive 
audio conversion and batch pro- 
cessing package. It will take any CDDA (CD- 
ROM audio). STUDIO 16. MAUD, flIFF. WAV, 
8VSX, or Video Toaster Flyer audio clip and 
convert it into any of the formats mentioned. 
In addition, the program can combine multi- 
ple clips of differing formats into a single clip 
of any supported data type. 

Installation was smooth and relatively fool- 
proof. I suggest a partition with plenty of space, 
because the program buffers audio passing 
between the Flyer and the Amiga to make up 
for the slow interaction between the two. 

The conversion 
process is intuitive 
and worked flaw- 
lessly. The time 
sequencing option 
where multiple 
clips are merged 
Mtr±n£ns fsc=a-.i into a single clip, 


Asimware Innovations 


S05-57I-491 B 

Circle Number 107 

EEESEhEI I performed exactly 

as advertised. Any 
number of formats can be merged or convert- 
ed and the resulting clips will perform fault- 
lessly. If you need a conversion program or 
want to decrease clutter with fewer audio 
icons, Audio Thunder is a must-have. That's 
the good news; now the bad. 

The install program places an Audio 
Thunder option on your tools pop-up menu in 
the Flyer, which will launch the program. 
Once launched, however, I encountered an 
audio. device error, prompting a call to tech- 
nical support. The solution is to shut down 
the Flyer and only run Audio Thunder by 
itself. They claimed this only happens on a 
few systems, but I found others with the 
same problem. 

Without AsimCDFS 3.0, and a CDDA com- 
pliant SCSI, CD-ROM, you can't convert any- 
thing to or from the CDDA format. The pro- 
gram also has no provision for adjusting the in 
or out points of individual clips during the 
merging process, something 1 consider to be a 
serious flaw in an otherwise fantastic pro- 

54 II NewTekniQuES April 1997 

Prepare to meet your maker! 


_,- ,.*>\ 

MicroScribe is an advanced 3D digitizing tool that empowers you with 
the ability to quickly and accurately capture complex 3D models from 
physical objects by tracing over their surfaces. 

The MicroScribe-3D is a desktop system that easily connects to your serial port and 
runs on PC, Mac, and SGI platforms. MicroScribe is compatible with all your favorite 3D 
graphics, animation, and CAD software. Models created by MicroScribe can be exported 
in IGES, DXF, and other standard file formats. For details, call Immersion Corporation at 
408-467-1900 or 800-893-1 160 or visit our Web site at 


...a new dimension in desktop digitizing 




Circle #220 


MacroForm 1.0 

One and Only Media has released MacroForm 
2.0. containing more Iban 20 powerlul mod- 
eling tools lor lighfe 3D Modeler. Using 
comes as modeling tools, Macfoform 2.0 gives the 
power to bend, posh, toot, scale, slice, stretch, 
twist aod warp objects, including MelafilJflBS 
objects. Macioform U lily integrates into and 
enhances LigltlWave 3D Modeler hy taking lull 
advantage ol Modeler's corves. It even has tools 
that enable users to align, scale, and rotate their 
objects with ease and precision. 

MacroForm 2.0 comes with a modeliog instruction 
book that focuses on Modeler's tools, as well as 
teacbiog users how to tap iolo their oatoral mod- 
eling skills. Ihe price is $350 for Intel or Alpha 
and S2/lt lor the Amiga. Coolact Macrofoim, P0 
Ban Z18. VaunhalL MJ 070B8. (9081 9B4-4b46. 
Circle Number 109 



Unlimited Potential, 
Inc. has bundled 
WaveFilter 2.0, 
WaveFilter Depth, 

WaveFilter Shatter, and 

WaveFilter Volume into one $280 package called WaveFilter 
ImageMagic. WaveFilter 2.0 includes anti-alias, color correction, 
gamma, brightness, contrast, enhance, blur, noise, posterize, NTSC 
limit, B&W, negative, and flip frame. WaveFilter Depth blurs each 
pixel for depth-of-field effects. WaveFilter Shader includes plug-ins 
such as transparency, vanish, ghost, color, uminosity, diffusion, 
reflection and limit. WaveFilter Volume allows the creation of fog, 
clouds, and fireballs. Contact Unlimited Potential, 1 1608 W. 127th 
Terrace, Overland Park, KS 66213, 1-800-758-4462, www.wave- 

Circle Number 110 

Real World 
Navigation Suite 

Infinite Pictures introduces Real World Navigation Suite for 
LightWave 3D, a software plug-in that gives Lightwave users the 
capability to generate navigable spherical panoramas for pre-ren- 
dering, presentations, and add 3D virtual worlds to web pages. Real 
World Navigation Suite is a bundle of five tools: SmoothMove 
LightWave Plug-in, SmoothMove Hot Spot Editor, SmoothMove 
Avatar Editing Tool, SmoothMove Viewer Kit, and SmoothMove 
Browser Plug-in. Contact Infinite Pictures, 33 Northwest First Ave. 
Ste. 1, Portland, OR 97209 (800) 990-2449, www.smooth 

Circle Number 111 




MacroForm 2.0 

The Starfire 


Real World 
Navigation Suite 



Super Glow 




Digital Art Brushes 




AM Pro 

Decisioo Maker 

Aussie's Fast 



Flyer Mastery 

56||NwTEKNItlDES Acril 1997 


1 oiley laboratories has released Galfer. a 

LightLVave 30 plug-in shader Far cantrol- 

Imy lighting ami shadirty. Galfer clianges 

algorithm LighlWave uses lo determine the 

appearance of a lit surface. It adds new specular 
and diffuse shading options, per-surlace light 
exclusion and boosting controls, area light shad- 
ows, bloom aroood bright [elections, and a new 
tool lor compositing shadows into a background 
plate. Gaiter was developed io close cooperation 
with several major Hollywood slodios. Gaffer's 
price is S195 Inr Intel and $235 for DEC Alpha. 
Contact IVorley Laboratories. 80D-720 7584. orby 
e-mail via 

Circle Number 112 

Super Glow 

Pootari Productions is shipping Super Glow 
for Lightfa 5.0, Ihe Super Glow plug-in 
olfers mare than twenty lealures ior control- 
ling glow. Special features include colored glows, 
noise distorted glows, and particle glows for 

Digitul Art Brushes 

Digital Art Brushes (DAB) introduces ray-painting 
for Lightwave 3D. DAB intercepts the surface 
shading and dabs paint in a buffer, then com- 
posites it back into the picture. Fully user-definable 
brushes and surface convolutions are designed with 
the 3D artist in mind. There are random brush selec- 
tions or selections by the image's luminosity. There 
are also options for color randomization and trans- 
parencies. DAB actually paints while the surface is 
being rendered. It is available from MetroGrafx 
Software and Animation for Intel and Alpha at a 
price of $120. For orders or information call 719- 
748-3972, or visit on the 
Internet. The mailing address is P.O. Box 568, 
Florissant, CO 80816. 

Circle Number 115 


IighlSocfcet. by D'Visions, is an Amiga-based program that controls nlhei 
LighlWave 3D rendering machines lor the purpose of mass rendering. It not only 
controls Scieamerflei but also LightWave via ARra. Batch render lists, Irame out- 
put path/names aod changes, along with selectively assigning machines to diflerenl 
scenes, are a few of LightSockel's featuies. Due toASeux problems in LightWave 4.0, 
Ihe pingram cannot control il, but it functions normally with Screameiflel. LightSocket 
costs $195. for ordering or information call 518-455-7585, Of e-mail 

Circle Number 116 

Aipha platforms, Super Glow retails lor $50 Intel 
and $65 Alpha. Mem information and a .-. rjrkinrj 
demo version can ae found on the Super Glow 
home page m/pontaii/super- 
glow or by calling tf 06) 702-8262. 

Circle Number 1 13 


VertiLectric is an exciting new plug-in/extension for LightWave 3D 4.0 that allows 
LightWave animators to create highly realistic lightning and electrical arc effects. 
VertiLectric is for both the Modeler and Layout portions of LightWave. This two-fisted 
approach allows flexibility when composing and generating your animations. VertiLectric is 
made by Blevins Enterprises, Inc. and is available for Intel and DEC Alpha at a price of 
$99.95. To order call 1-800-205-5161, or e-mail The address is 
121 Sweet Ave., Moscow, ID 83843. 

Circle Number 1 14 


(on Motion, by United Magnetic Video, is tailored to give you total control over posilioos and move- 
ments nl objects, bones and/or lights in LightWave. Con-Motion extracts the positions and movements 
oi objects, hones, aod lights horn sceoes created in LightWave. fhe objects, hones, and lights that 
t groups to assume different positions or movements simulta- 
nd movements can he manipulated, allowing different scenes 
i-IUI olioo is available for Intel land shortly DEC Alpha) foi $485. Ihe 
light version is $340. Oiders can ha placed at 718-634-4D15. For more information, write 736 E. Moreno 
Ave., Colorado Springs, CD 80803, or visit online at 
Circle Number 117 

of objects, hones, aod lights li 
lorn the character can he divided in 
neously. Sequences aod timing of 

with diflerenl limmgs to he mated 





ioo. a set of 

lural texture plug-ins for 
'ave 3D. The lirst ol the 
tour plug-ins is CG Noise, which 
creates eight kino's of random 
noise and gives you direct 
access to Ihe mathematical 
parameters that include the 
appearance of Ihe noise. Ihe 
second plug-in is CG Bricks, 
which creates multiple brick 
types and adds noise to fhe 

brick types at the 
user's choosiog. Size, color, and 

bump depth can also be 
changed, fhe third plug-in is CG 
Scales, which produces cuived 
oi sguaie sea es 3ial can ho 
used lor luard skin, labrics, bas- 
kets, aod other surfaces where a 
regular grid ol scales is 
required. CG Shingles is the 
fourth plug-in, which allows the 
creation of roof shingle 
surfaces. Ihe Starfire Collection 
is avail 

S3D. II requires LighlWave 5.x. 

I Computational Graphics, 

IK 76133. or oo the Web at 
ciric/indei.htm. When ordering 
through mail, add $8 fur 
shipping and handling. 

Circle Number 1 18 

April 1997 NtwTEKNiQUES 57 

BOOKS / video: 





% release of the Flyer Mastery 
■^ Guide by Joe Tracy. The book 
costs $43.95 (plus $4 shipping) 
anil is split into chapters that 
.ncloile luloiials, tips, trou- 
bleshooting, optimizing yoor Flyer 
system, third party products, aod a 
iDDk into the individual areas of the 
Flyer, The hook does not deal with 
technical issues Irke installing jraur 
Flyer. Orders will he taken begin- 
ning April 14 snd shipments will 
begin oo April 25. In older call (800) 
672-18B0. nr mail a check nrr 

older to Studio Visions, ID 3 8 W. 
Harvard B3vd, Rosesurg, OR 9747D. 
For more inlormatinn, send an e-mail 
request to snisions@main.rosenel, 
net or visit 

Circle Number 1 13 


Fast Frames 1.1 for the 

Video Toaster Flyer market 

« ftmit's rut fUMl » 

This riitlM ttltrti i i*w«f ■) tS mil. 
rrsttltim ui Effrtfi ifttl 1 Flffr litn [lir 
It itu rliniulti 111 tiding tt"# lv thnr 



" fill !:m\ 


ru -.- ml h i 

rtct F* luw A 

•rj flljuf I 


r«fw* I 
Fist trmit 


Aussie's Fast 


tare's oewest tool fur 
the Video Toaster Flyer 
market is Fast Frames 1.1, 
which records any sequence ol 
framestores, effects and CG 
pages into a single video clip 
while eliminating loading time 
delays. Fast frames also 
ioclodes utilities to make 3 CG 
page "type out" like a typewriter 
or build-up lioe by lioe. It also 
adds three "luma-keying" melh- 
ids to perlorm complex 
sequences ol flying key titles, 
fast Fiames sells lor $63. 
Contact Ota, 21230 Meadow 
lake Ooad, Snohomish, M 
3B290, 360-805-0140, ozware 

Circle Number 120 



egageM has released 
AVBRPrn. an integrated 

nig system loi Ihe Video Toaster 
Flyer. This advanced version of 
AV80 has mnre automatic func- 
tions, faster performance. 
instant match-frame viewing, 

f-lieeze aod 

idificalioo. A special 
Pro software controller can 
be added to perform most edit- 
ing lunctiorts mouse Iree. 
AVBHPro sells frjiS349.55. With 
Ihe edit controller, the cost is 
S599.95- Current users of AVAR 
can upgrade Inr SI 00, including 
a new manual. Contact 
MegageM, 1903 Adria Avenue, 
Santa Maria, CA 33454, (805) 

Circle Number 121 


Interchange is a program that translates 
between many different 3D file formats. 
Most 3D programs can load and save 
one or two formats for other products. 
With Interchange, you can make a 3D 
model in one program, translate it, then 
use it in another. It also includes a 
Lightwave plug-in that enables you to 
load and save all of Interchange's file for- 
mats from within Lightwave. Interchange 
for Microsoft Windows sells for $495. The 
upgrade price is $25. It is produced by the 
Syndesis Corporation, reached at 414- 
674-5200 or on the web at www.three- 

Circle Number 122 


Dimension Technologies introduces 
FlyFX for the Video Toaster Flyer. 
FlyFX, available now for $129, is a 
rendered effects package that creates 
transitions between video clips. An exam- 
ple would be adding a video clip to the 
back of a page peel. The package also 
includes warps, morphs, and particle 
effects. They aiso offer a free FlyFX demon- 
stration video and have extra volumes of 
effects for $39 each. Contact Dimension 
Technologies, 1 156 West 8th Street, Erie, 
PA 16502, (800) 525-2203. 
Circle Number 123 

Decision Maker 

Visual Inspirations latest release of 
Decision Maker now supports the 
control-L protocol for use with the 
Sony VX-IOOO digital camera or any 
device with an LANC input. It also has a 
redesigned Flyer look interface. Decision 
Maker allows Flyer users total control over 
the process of digitizing video by provid- 
ing complete deck control from the 
Amiga screen. It also contains batch digi- 
tizing capabilities and a redigitize func- 
tion. The retail price is $399.95. For cur- 
rent owners, the update is S39.95. The 
control-L cable sells for $150. Contact 
Visual Inspirations, 809 W. Hollywood, 
Tampa, FL 33604, (813) 935-6410, 

Circle Number 124 

- : :. TekniOuk A:;n'. 1997 




All sites were active at the time 

of tins writing, but sites come and go 

with great IreqLency. 

Check out the Surf Report website 

for direct links and updates far all ul 

these areas. If yaj taw a website that 

you think should be included in tire 

Surf Report, please e-mail the UBLto 


www.cris.coni' — chp/sur1_rEporl 

II ycu dor'! want to manually If p s in Each site Id 

your browser, simply jump on oiei la this lisl and 

access these sites online I or easy exploring! 

This is Ihe best place to p lor the latest Met; 

news. It alsD lias lignite tuloiials. an Itp site. 

access to updates, and othei uselnl inloiroation 

for Newtek prorJoct owners. 


LightVVave Mailing List: Join bye-mailing 
majordomo(o>newlek.[om wilt the merits 
"subscribe lightwai/e" in the body el the message. 

Toaster Mailing lisl: Join by e-mailing 
maJDrdomo(a>newtekcDm with the wonls 
"subscribe toaster" in Ihe body ol the message. 

M'^i'i- ■-■■■-• 



Ihii is a great site for Amiga. LighlWave, aid Toaster 


NewTek: ftp.newtek.cDnt/pub/NEWTEK 

Newtek's official she. 

ViewPoint: llp://viswpoint.cnm 

this is a good site lor downloadable 111 ohjecls. 

M) II il J,T f ,TT jt I ■! .H .1 ■ J .j JMU 
tJUl'IVMi'liPiniB'lll Vj» 

Amiga and the Video Toaster: 

this site his technical specs, updates, FAD's ane 1 
other uselil information about Ihe toaster, flyer, 
end LightWave. 

The Amiga Web Directory: 

this is Ihe main search site lor all Amiga aod toaster 

related searches. 

The Breakfast Club (ftyanC. Johnson): kf asl. html 
Billing ilsell as a Video Toaster, flyer and video user 
informaiion site. The fiieafa Eluh has lots of 

excellent i[" 

Dave Warner's Home Paye: 

This website contains Video Toaster and lighiWaie 

Mailing Lisl archives as well as site listings. 

Christopher Stewart's Primordial Soup website 

The Flying Toaster: telnet://2D4.f57.f46.10E 
this is a telnet BBS (you need ielnel sDltwaie) which 
offeis lots ol foastei resources. 

Toaster/Flyer Into: 
this is a section on ihe Amiga Dot Spot she that has 
seieral articles on Ihe foasler and Flyer. 

Video toaster Flyer and LightWave 3D Online 
nage.himl Nicely done in a magazine loimat, this 
site contains articles, icvie.vs. and downloads. 

"" ,' n'fSP 

30 Cafe: 
[here are several downloadable plug-ins 
(mostly Intel) and other graphics utilities on t 
as well as models, textures, end Ion is. 

s she, 

Bending Light (Ch 
there is a collection ol soilace sellings, an object 
library, and LightWave resources with many links and 
interactive sections on lechniques and lips. 

Amiga Online Reference Manual: 
An online reference for LightWave menus. 

Avalon {Viewpoint): htlp://avalonl 

Besides hcing a premiere resource for 3D ohjecis, 
there are also textures, demos, and utilities. 

Oman's Graphics Tips and Tutorials I 
Tips on making explosioos. cloods, lightning, aod 
laser holts. 

Discount Don's 3D Gallery: donh 
A gieat resource for links loi everything that is 
computai graphic and lighlWave Diiented. 

Ernie Wright's Home Page: 

fhis she contains several interesting articles and a 
nol plug-ins mitten hy one ol Lightwave's 

Glen's Graphic Gables: vmw.jmlcwis.coni/ 
v ou can find Ires Intel plug-ins Superluadfic 
Playground and Slinky Playground along with other 
interesting items on this web page 

Imaginative Systems (Oliver Half): Ibis is a very giod ftp area, and 
has lois ol Lightwave inlormation, and great 
lighlWave macros by GonialoGanamuha. 

Inverse Kinematics Tutorial (Tim Wilson): 
crestline/ik.him This web page contains a tutorial 
Ibal teaches loverse kinematic basics. 

LightWave 3D Internet Users Gallery 
(Chris Nelson): 
This site contains an indexed gallery ol LighlWave 
images subiritled by visitors to ihesite 

Long Island Media Group (Diehard G f'Bommedieo, 

II you use LightWave. this site is one you should 
definitely visit. A gieat source for tips, tutorials, and 
olhei inlormation. 

New Graphics BBS: 

This is a great graphics-specific BBS which can be 
leached via your browser. Il includes access to the 
lighlWave Plug-in mailing lisl. inloimation on the 
lightwave IRC channel, and lots ol other resources. 
The Up site has objects, plug-ins, lightfa maims, 
lextores, and utilities 

Primordial Soup (Christopher Stewart): This area has al! sorts of 
cool stuff lo explore, incloding an impressive 
LightWave 3D techniques search engine. 

Rendering Plant: 

Ibis she links you Id a virtual walkthrough ol 
LightWave aod Ihe site's LighlWave discossion board 
(make up a name and passwoid lo enter], 

Steve's 3D Sile: 
This British-based LighlWave site of bis many 3D 
objects and tutorials. 

April 1997 KewTeixnioues 59 


Phone: (90S) 939-8371 

Fax: (90S) 939-B745 

Order Line: 1 8BB RANDOMIZE 

(1 BBS 726-3664) 

Sales e-mail: 

Support e-mail: 


24 BitGraphics Accelerators 

CyberVision64/3D 4MB- 

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CyberVision64 4MB" 
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CyberVision64 to 64/3D Upgrades Available 

■ The CyberVision64/3D is an auto-sensing Zorro II / Zorro III board that works in 

the A2000. A3Q00(T). A4000(T) or an A1200wilh a Zorro adaptor 

•• The CyberVision64 is no longer manulaclured by Phases. Through our North 

American CyberVision Upgrade Program, Randomize makes previously owned 

CyberVision64 boards available with a 90 da/ replacement warranty Irom 


— The CyberGraphX software makes the CyberGraphX retargeting standard 

available to Users of graphics cards other than the CyberVision including 

Picassol!/ll+, PicoId/SD64. A2410. Retina BLTZ3. Draco Altais. Spectnjnr 

North American CyberVision Upgrade Program 

Randomize is providing an upgrade path to Users that own the 
CyberVision64 and wish to upgrade to the CyberVision64/30. Please 
visit our website for details, or contact Randomize directly. 

Randomize also carries products by Village Tronic, Almathera. Amlrade. 
Haage & Partner, Wizard. BioCon, DKB. Asimware and more. 

PhaseS's line of CPU Accelerators 

provide superior performance, 

compatibility and upgradability. 

Cyberstorm MKII Accelerators for A3000(T) & 

Cyberstorm MKII 040ERC 40Mhz 
Cyberstorm MKII 060 50Mhz 
Cyberstorm MKII Fast SCSI II Kit 

Blizzard Accelerators for A2000 & A1200 

Blizzard 2060 (060 50MhZ) (built-in Fast SCSIII controllers) 

Blizzard 2040 ERC {040 40Mhz) 
Blizzard 1230 (030 50Mhz) 
Blizzard 1230 w/ co-pro 
Blizzard 1240 ERC 
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Blizzard Fast SCSI II Kit 

note: all Phases accelerator use standard 72 pin non-parity SIMM Ram 
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Processor Inteoer Operations FPU Operations 

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For Complete Product Information 

Visit our website at 

Please contact your local dealer for pricing and additional information. Contact our 
website fpr a list of local dealers If you are unable to find a local dealer please 
contact Ranoomize and we will be happy to service you directly. As always, we 
welcome dealer enquiries! 

Circle #236 

Inform ♦ Introduce ♦ Influence ♦ Instruct 





News Items 


Reprints of New Tekniques articles, advertisements, 
news items or special announcements are available 
through Advanstar Marketing Services. Customized to 
meet your specific needs, reprints are highly effective 
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Circle #237 


New! ... from ProWave, Inc. 
Volume III: Advanced Character Modeling 

Mark Thompson's latest tape in the in. focus series, Volume 
III: Advanced Character Modeling. This is the definitive 
guide to creating complex organic models. In this tutorial, 
Mark takes you from pre-planning sketches to a final 
character. Learn how to create bodies, limbs, and faces. 
He shows you how to use Lightwave's powerful new tools 
to clothe your character, create complex wrinkles and 
lapels, and seamlessly attach these objects to your figure. 
Finally, Mark will show you how to properly prepare your 
character for adding bones and animation. 

Mark shows you: Rail Extrudes • Rail Clones • Spline Patches 

• MetaNurbs'"* Bevel • Smooth Shift • Magnet • Drag • 
Weld Points • Merge Points • Background Images • Spline 
Curves • Metaform • MetaformPlus • Subdivision • 
Surfacing • Hide/Unhide • Layers • Macros • Modeler Setup 

• Display Options • Curve Subdivision....Gef the point? This 
is a must-have tutorial. 

= mi—* "*' M,H ^^°51 





: r - r --- i : 1 

Now Shipping - Order Now! $49.95* 

Lightwave 3D r 




The Tutorial Series for the Professional Animator 

Advanced Series featuring Mark Thompson 

^— -~V N "w. Volume I: Layout Tips 8c Tricks: Award winning animator. Mark 

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/ -'Mf£wmtfr l fwrt? tne tutorial and more!. The most complete, in-depth training package 

O available. $59.95" 

\ - 

Volume II: Mastering Materials and Textures: Lightwave 

expert, Mark Thompson, unlocks the hidden power of the many 
Lightwave 3D procedural textures. Learn how to create stunning special 
effects through creative surfacing, the tradeoffs of image maps vs. 
procedurals, when and how to apply antialiasing. Design surfaces that 
look completely real. Our CD-ROM contains everything necessary for the 
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Beginner/Intermediate Series featuring Dan Ablan 

Learning LightWave Thru Logos: 3D Artist and Power Guide author. Dart Ablan stoWs you the bastes of 
LightWave-it's easy! Make logos like the networks. How do you find that first client? Starting with just a business card. 
Create a stunning 3D logo. Learn how to properly texture and match colors. Open your mind to new ways of animating 
titles, reaching beyond the typical flying logo. Learn how to minimize your time and maximize your profits by building your 
own prefab library. The included CD-ROM will get you started! £49 95 " * 

LightWave 2D! That's right 2D! This tape will introduce you to LightWave from a completely different perspective 
Discover how to make fantastic 2D animations with LightWave, and why you would want to! Dan will show you how to use 
LightWave as a Character Generator ond mimic high-end video workstations. Even if you can't yet output your moving 
animations, you can still benefit from generating stunning stills, Layer pictures, text, elements, and backgrounds using pre- 
designed scenes on the included CD-ROM. $49.95** 

Advanced Flyer Series featuring Don Ballance 

Flyer Flight Notes, Volume I: Flyer Flight Notes is the tutorial series for the Flyer professional. Insert edits, edit to 
crouton, using locks properly, audio editing techniques, and short stroking drives are- all covered in this tape. Learn HD tools 
and many keyboard shortcuts that will make your Flyer editing sessions fly. Included with the video is Don's Cheat Sheet, a 

ToasterPaint Processing • Music Videos • Third Party Products • Handling Effects and more . . . $49.95" 


Time Saving Tools for the Flyer Professional 


=t£m>E=t FX - $129.95' 

Imagine turning an entire project into a single clip. Have you 
ever wanted to key a CG over a transition? Ever wished 
there was zero-load time for animated wipes, CGs, or DVEs? 
Do you ever have a need for effect envelopes? 

What if we told you we could bring back all of those coai 
tricks you used to do with the Toaster before upgrading to 
the Flyer. With Render FX, you can! 

Working closely with the Traz team at NewTek, ProWave, Inc., 
has developed a way to transform any toaster effect into a 
single Flyer Clip. Once the transition is a ciip, you can use 
ProMix Tools to create audio cross-fades and join these clips 
into a single A/V clip. Not Bad? 

What this means is you will never see that "not enough time 
to load effect" message again. In fact, you can even layer 
effects. Never again will you have to record your Flyer clips 
with your CGs pre-keyed in order to run them under an 
effect. We've also built an envelope editor for effects and 
transitions. With this you can execute a partial transition and 
return back to the original clip. This means that those 20% 
layered dissolves you used to do manually with the T-Bar will 
once again be at your fingertips. Layering video has never 
been so easy, 

^jMS^WSf' '/^ft#5i£i"i- jl^CT 

As always we are working with the other third party 
developers to integrate our tools into their programs such as 
Co-Pilot, Control Tower, Wipe Studio, and Fly Effects, 
ProWave's philosophy is to seamlessly integrate our tools into 
the Flyer interface and other third party products, so you 
don't have to learn yet another program. We'll provide the 
solution, you supply the creativity. 

► ; ■ ) Pft£V£W S J M [ F [ V ) 

Currinl Ktv Frwt ( t 

OK Can col 

/ found this to be o must have' product. 
In every single one of my projects I have 
used ProMix:' 
-Joe Tracy, Video Toaster User Editor 

7 can't believe how I edited without this. 
You've definitely unleashed my creativity.' 
-Brian Jansen, Universal Video 

"It's amazing that you've integrated this 

right into the Flyer. There's nothing new to 


-Don Ballance, NewTek, Inc. 

pTOliliX- $99.95 

With ProMix, you'll never run out of audio tracks again. ProMix will mix your selected audio clips to a single clip, 
while preserving audio levels, pans, balance, fades, and timing. You can layer, and layer, and layer audio with 
perfect digital accuracy. ProMix is a set of four audio tools. In addition to mixing you can: add/replace audio on 
a video clip or animation; replace/mix audio from one video clip to another— perfect for those multiple camera 
shoots; join video clips or audio clips to make a single clip; or insert a section of audio into an existing clip without 
disturbing the audio before or after the insert. Co-Pilot Audio users will benefit by making extremely complex 
audio sequences just one clip. We also give you all the functionality of Audio Black Box free. 

■■ ES?S|SmB| ■■■ 

Order Now! 1-800-930-ANIM (orders only) 

International Orders: 1-205-551-7710 

In the UK call: amgFX 44 (0)171-468-3444 

HlfiBsl mm 


Visit us at: 
e-mail us at: 

1-205-830-2767 for more info 

'add $5 $&H, S10 for COD or international orders 
"PAL add $10 

ProWave, Inc. 
"pal add Sio 7950 Highway 72 West . Unit G102 

Lightwave 3D. ToasterPaint. Toaster CG.ond Video Toaster Flyef are registered tradematks of NewTek. Inc., MadiSOn, AL 35758 

Circle #238 

CALL 800-544-6599 

MON.-FR1. 8-6, SAT. 9-5 CST 

INFORMATION 414-548-8120 • FAX 414-548-8130 
TECH SUPPORT/RMAs 414-548-8159 • 2-6 PM, Mon-Fri. 






Visual Inspirations 

Batch Factory, Amiga 49.99 

C( nlrol Towf i An iga 139. CO 

Corporate Video Backgrounds is a 
collection ol 250 visually stunning, 
royalty-free backgrounds which can be 
used in any Mac, Intel, or Amiga-based 
Video Editing Facility... 
Corporate Video Backgrounds. .79. 00 

Decision Maker. Amiga 249.00 

Road Signs, Intel 39,00 

Surface Pro provides you with over B0 
new seamless, image-based surfaces 
that are instantly available through 
Lightwave Mo matter what the shape 
or size you'll never see a seamline... 
Surlace Pro Amiga 69.00 


Harness the power of 

Image F/X with Visual 

F/X for Image F/X and turn out 

top notch images and video seguences. 

Includes volumes of transitions and 

Special FX templates: each volume 

comes with 20 effects and has a full 30 

frame preview attached to each. 

Visual F/X lor Image F/X, 

Amiga 129.99 

MONUMENT DESIGNER The new standard in tilling, developed 
and tested in professional studios. Offers the widest margin of possibilities for 
the user, from graphic design to picture composition,.. 
Monument Des'igner V2/2I 249.99, V3 349.99, Upgrade V2- 

^ hv gh oUA.un< tiue» g^o^ 

" 2 MONtlMENT DESlG Nl * 



Inferno- You asked for it. 
so OKB developed it. 
. The new Inferno 4MB 
graphics card for the 
WildFire. This PCI 
expansion card uses the Cirrus logic 
5446 chip and gives you true color 
images in 24 bit screen modes up to 

Inferno Call 

MegaChip 2D00 Double the amount 
ot Chip Ram for your Amiga 2000 
or 500... 
MegaChip 2800 199.00 

Rapidfire SCSI-It - Zorro II hard card 
for your Amiga 2000, 3000. Or 4000 
holds 8M3 of memory; passive 

Rapidfire SCSI-1! 149.00 

Spitfire SCSI-1! - A low cost controller 
option tor your Amiga 2000. 3000 
or 4000... 

Spitfire SCSI-II 89.00 

WildFire 2000 Accelerator Molds up 
to 128MB of RAM; includes PCI bus 
for expansion- 
Wildfire 2000 1189.00 

3128 Board Get up to 128 megs of 
continuous memory for your Amiga 
3000 or 4000... 
3128 Board 195.00 


i SyQuest d&? Seagate U Quantum 

^^ Iomega 

^ Iomega JAZ Drive 1GB SCSI-2 Ext 499.99 

&S Iomega JAZ Drive 1GB SCSI-2 Int 395.00 

S lomegaZIP Drive 100MB SCSI Int/Ext 199.99 

S Quantum Atlas II 4.5GB Ultra 1049.00 

B Quantum Atlas II 9 1GB Ultra 1679.00 

S Seagate ST32155N 2,1GB Ultra 499.00 

% Seagate ST34371 N 4.3GB Ultra,... 1 099.00 

Seagate ST19171N9GS Ultra , 2099.00 

Syquest EZ Flyer 230MB SCSI-II 299.99 

SygueslSyJet 1.5GB Int/Ext 399/495,00 


Kl supra Corporation RjRobotJGS 

SupraExpress 33.6 V.34+ Ext 149.00 

SupraFAX 33 5 V.34 Ext 189.00 

Sportster 33.6 V34 Ext FAX 169.00 

RyMSHlS impact! 1.05 

physics define your objects' motions... 

DEC Alpha 399.00 

Intel 299.D0 

Lock & Key is a dynamic parenting util- 
ity designed for character animation... 

DEC Alpha 225.00 

Intel 189.00 

Particle Storm makes particle control 
easy. With simple mouse clicks, create 
stunning effects like sparks & smoke... 

DEC Alpha 299.00 

Intel 255.00 

Stiader Man CO Lightwave plugin 
with 20 procedural shaders: such as 
wood 8. metal... 

DEC Alpha 199.00 

Intel 149,00 

Macroform 2,0 is packed with 
over 20 powerful, feature-laden 
modeling tools S utilities for the 
Lightwave Modeler: also includes 
"3D Modeling the Natural Way' 
MacroForm 2.0... Amiga 229. 0D, 
DEC/Intel 279.00 

One And Only Media 

The Camelol Collection CD 
includes 300+ models and 
textures to bring the mystery 
of the Middle Ages to your 
favorite 3D application... 

Intel/Mac 185.00 

The Interior Design Collection CD 
will help to create complex residen- 
tial and office scenes... 

Intel/Mac 185.00 

The Wright Collection CD 
features145 models of home 
furnishings ala Frank Lloyd Wright... 
Intel/Mac 185.00 

REPLICA Technology 



Surface Effectors 
/DSFX 1.1 This 
I powerlul plugin 
| unleashes your 
1 surfaces in 
p ^j allowing you 
grtecWf 9 ', to achieve 
isu<1at|j£^i" i " dynamic 
W surfacing effects 

in record time without resorting 
to complex image mapping 

Surlace Effeclors/DSFX 1.1 
Intel/DEC Alpha/MAC 79.00 

F/X Kit for Lightwave 29.00 

F/X Kit for LW Addendum ,19.00 
Lightwave 3D Essentials ...39.00 

Lightwave Power Guide 44.00 

Project Modeler I or II 36.00 


Audio BlackBox 95.00 

Audio Thunder 69.99 

Co-Pilot Audio, Amiga 99.00 

Co-Pilot Video, Amiga 99.00 

Digital Motion Flyer 

Clips CD 129.00 

Flits Gear 4000 160. DO 

Fly F/X CD, Amiga 189.00 

ProMix 95.00 

Radar 4000, Amiga 299.00 

Render FX 125.00 

VideoGems CD 95.00 

YBT 79.00 

3D ROM Vol 1 or 2 CD 69.00 

Art Effect 1.5, Amiga 109.00 

Power Effect, Amiga 45.00 

Superview. Amiga 45.00 

Bryce2 2.0 169.00 

Cinema 4D/MagicLINK 219.00 

Detailer, Intel/Mac 299.00 

Digital Museum CD 115.00 

drawStudio 1.1 CD, Amiga 158.00 
Fractal Painter 4.0, Intel ....339.00 

Hash 3D Animation 185.00 

Hash 3D Master Pro 550.00 

Hollywood F/X 3.0, Intel ...549.00 
Hollywood F/X, DEC Alpha ..699.00 

Imagine (Windows) 535.00 

Infini-D 419.00 

Motion Master Vol 2, Amiga..96.00 

Plaid Companion CD 22.00 

Poser 2, Intel 198.00 

Poser 2. Mac 145.00 

Pro Wipes 3,0 Vol II, Amiga ..69.00 

Pyromania I CD 139.00 

Ray Dream Studio 285.00 

Take 32 CD 89.00 

Time Machine 99.00 

Wave Filter, Intel 149.00 

Wave Maker 2.5, Amiga. ...159.99 
World Construction Set Pre, 

Amiga 369.00 

World Construction Set, 

Intel 589.00 

World Construction Set, 

DEC Alpha 599.00 

OAB, Intel 99.00 

Extract Audio 69.D0 

Fiber Factory, Amiga 67.99 

Fiber Factory, PC 95.99 

Fiber Factory, Dec Alpha... .129.00 
Humanoid (Interim Pkg),... 160.00 

Light ROM Vol. 4 CD 39.00 

Light ROM Gold CD 29.00 

Scene Machine CD, PC 169.00 

Solar System Kit/LW 93.00 

Sparks 1.02 CD Intel 169.00 

Sparks, DEC Alpha 199.99 

Sparks V 2,176, Amiga 126.00 

Universal 3D CD 119.99 

Wobbler 69.00 


. VertiLeclric -This exciting 
I plug-in for both the Modeler and 
Layout portions of Lightwave 3D 
allows animators to create highly 

t* realistic lightning and electrical 
arc elfects. 
Blevins Enterprises VertiLeclric 
Intel/DEC Alpha 89.99 

Video ToaSter...everylhing 

ydu need for professional video. 
The Toaster has it ail.. .including an 
Emmy for technical achievement 1 
NewTek's broadcast studio in a box 
features a real-time 4 input switcher, 
digital transitions, professional char- 
acter generator, 24-bit paint program 
and Lightwave 3D. The Toaster 
offers you an all-in-one solution to 
television production, at a truly 

affordable price 2150. DO 

Toaster 4. 1d Upgrade CD. ...499.00 

Get oil to a flying start with the 
Video Toaster Flyer - NewTek's 
incredible Toaster add-on offers you 
a non-linear broadcast quality video 
editing system exclusively for your 
Amiga. The Video Toaster Flyer 
features digital-quality. 60 fields/ 
second recording and playback. 
Video Toaster Flyer 3999.00 



Have you reached the final frontier? Now 
you can boldly go where no designer has gone 
before with Lightwave 30. Sophisticated 
enough for interactive entertainment; powerful 
enough for prime time television; as addictive 
as M&M's. Lightwave 3D lets you 
animate at warp speed and 
beyond. Lightwave 3D's intuitive^ 
nature, ease of use, and flexi- 
bility give you the ultimate in 
creative control, while OpenGL 
support (PC version) allows you 
to see your creations in real-time as you work. 
All this and Lightwave 3D costs 50 to 75 
percent less than comparable programs. 

Lightwave 5.0, Amiga 1165.00 

Lightwave 5.0, DEC Alpha 1229.00 

Lightwave 5.0, Intel 1065.00 

Lightwave 5.0, Mac 1065.00 

LW Upgrade 4-5.0, Amiga 295.00 

LW Upgrade 4-5.0, DEC Alpha ..489.00 

LW Upgrade 4-5.0,lntel„. 419.00 

LWCompetitve Upgrade, PC 995.00 

LW Competitve Upgrade, Mac ..995.00 

Call for School or Government 


PAR. Amiga/PC.1549.00/1 579.00 

Perception A4V 1229.00 

Perception Capture Card. ..859.00 
Perception/Capture Card 

Bundle 2369.00 

Perception F/X Accel 829.00 

Perception NTSC PC 1595.00 

Personal TBC IV 795.00 

Personal V Scope 789.00 

Spark. Intel/Mac 899.00 

3D. the 
world's only 
real-time 3D 

program tor 
Mac & PC. 
that allows 
animators to 
custom texture maps by painting 
directly on an object's surface . 

MeshPainl 3D. DEC 479.00 

MeshPaint 3D 1.6, Intel .349.00 
MeshPaint3D 1.6, Mac. ,359. 00 

Image F/X 2.6 . 


is the most complete 

image processing solution you'l 

find for the Amiga. Easy and 

powerful interface; multiple image 

buffers & brushes; thumbnail 

image previewing; fantastic special 

effects.Jmage F/X 2.6 

w/CineMorph Amiga 225.00 

Sale Harbor is dedicated to providing quality desktop video products. 

technical expertise, and courteous, personalized service to our customers to 

maintain our impeccable reputation and total customer satis/action. 

Terms: Pus accepted from schools 
and govemmeni acencies " Persona 
checks require 7 days to clear ■ 
Cetetlive products replaced 
prompt!/ RMf\ number required 
lull ■H4-546-81H) lor all 

merchandise returns. Returns 
not accepted after 1 5 days. 
Returned products must be in 
original packaging, postage 
prepaid. Opened suttware not 
relurnable Shipping charges 
nut refundable Returns subject 
to a 15% resloctong fee* Not 
responsive lot typos. Prices 
subject to change. 

W226 N900 EASTMOUND DR., WAUKESHA, Wl 53186 

Circle #233 


302 738 9259 24 HOUR FAX 
302 738 9046 ORDERLINE 
302 738 9267 iNFOLINE 



NEWARK DE 19702 

ORDERLINE 1 800 699 4049 

Amiga Hardware 

A520 Video Adopter 


S 19 

Clarity 16 


Cybervision 64 3D W/4MB 


Cybervision 64 Scon Dold 


DKB Cobra 1200 33/33/00 


0KB Megochip 2000/500 


0KB Multistart II 6A 


DKB Ropidfire 


OKB Spitfire 


0KB Wildfire 68060 A2000 


GVP I/O Extender 


CD Flicker Free Video II 



little Magic Box (Y/C) 





Midi Interlace, Pyramid 



Retina Z2 


Retina Z3 


Supergen SX 



Supergen SX Studio 



Sync Strainer 



Video flyer v4 1 + 



Video 7oasler v4.1 + 



Vidi 21 RT 


Vidi 21 RT Pro 


Villogelronic Ariadine 


VMIagetronic Liana 


Villogelronic Picosso 11+ 


Villcgeironic Picasso IV 


Vlab Motion 


Vlab Motion/Z2/Tocalta 


Vlab Molion/Z3/rocorta 


Vlab Y/C External 


Vlab Y/C Internal 


Wizard 560DPI Mouse 


YCP-GA Y/C Adapter 


Y/C Plus 



3D Rom Volume 1 or 2 
Audio Thunder 
Address it 1-5 
Blitz Basic 2.1 
Cinema 4D 
Control Tower 
Co Pilot Audio 
Co Pilot Video 
Cross Mac 
Cross DOS G Pro 
Deluxe Paint 5 
Diavolo FJ-Up Standard 
Diavolo Backup Pro 
Digital Universe 
Directory Opus 5 5 
Easy Ledgers II 
En Print 2 1 
Gigamem 3.12 
GP FAX Generic 
Hi Soft Basic 2 
Hollywood FIX 
Image F/X 26+ 
Imagemaster R/T 
Impact 1 1.0S 
Interchange Plus 
Kara Collection 
Lightwave 5 
Lightwave 5 Upgrade 
Lock & Key 
Macrotorm 2 
Mam Actor Broadcast 
Mam Actor Professional 
Multimedia Backdrops 
On the ball 
Page stream 3 0+ 
Pro Vector 3 
Pro Wipes 2 Vol 1or2 
Radar 4000 





























SAS(C Developemenl 
Scala Art Library II 
Scala Art Library III 
Scala MM300 
Scala MM400 
Scala MM400 Upgrade 
Sequencer One+ 
Termite TCP/IBrowse 
Turbo Calc 3.5 
Twist 2 Database 
Typesmith 2.5 
Upper Disk Tools 
WordWbrth 5 
WOrld Constnjc Set 2 
World Atlas CD 
Zip/Jazz Tools 




19 95 



69 95 










24 95 

Great Valley Products T-REXX-li 

- Up to 1600% speed increase Desktop 4000/030 & 800% for 68010 25mhz owners 

- Available for A4000 Desktop with 128MB ram expansion for AlOOODesktop 

- SC5I I & II FAST HARD DRIVE CONTROLLER INCLUDED - Up to 10 MB/Sccand transfer rate 

68060@50MHZ BOARD(#02084) $895 

Low heat, power & profile simms for maximum performance ■ 
and RAM (MEMORY) chips! 

4MB 60NS 20.00 

8MB 60MS 40.00 

16MB 60NS 80.00 

32MB (SONS 160.00 


1 8 Perfect People LE 
18 Perfect People 
3D Objects 

Lightwave 5.0 Upgrade 
Light-Rom 4 
Light-Rom Gold 
Moving Textures 200 
Particle Storm 
Universal 3DC 











ONLY $ (call for details) 

Warp Engine upgrade kits - 
40mhz (#03600) 175.00 
33mhz (#03605) 125.00 

Amiga SysfemsWNon Linear HW 

We have older A4O0O/30O0/2O0O Call 
reconditioned systems now 
available. (Limited quantities) 

Amiga 400CT SYSTEM (#01109) 1995 

6B040 © 25MHZ - 1.2GB HD - 6MB RAM 
SCSI II HD Controller Cord ■ Software bundle 

Amiga 1200 SYSTEM (#01107) CALL 

68020 © 16MH2 . HDs Available- 2M9 RAM 

AMIGA INTERNET I Lightwave 5.0 Intel/Dec 

$ 250.00 

Includes USRobotics 33.6 Modem 

Termite TCP/IP 


$ 995.00 

Adobe Premiere 4.2 S499.00 

= wir= k 

$ 299.00 



TARGA 2000 
TARGA 1000 



Amiga 4000T System 

Reguires a must purchase processor 
"~tton listed below. 

Motherboard with two video slots, five zona til slots, 3.5" (#01111) 

floppy disk drive, mouse, keyboard, two megabytes cV$1 785.00 

opflori irsted'6ercfiv:-- ram, 1000+ megabytes of hard disk space, software bundle 

Processor Options - A4640/A3640 68040 @25mhz w/CPU, /WiSAWl/ (#020851 $ 200.00 

i up to 4oo% taster )T W o simm sockets MS Warp Engine 68040 @ 40mhz w/CPU, FPU & MMU (#02079) $ 595.00 

( up to 800% faster IFour simm sockets A4660 68060 @ 50mhz w/CPU, FPU & MMU (#020891 $ 795.00 

Memory Options - ( Minimum often megabytes of ram required, more recommended ) 

REMEMBER! We have a lifetime warranty on all memory purchased 4/tfg } x 32 60ns Simm (#03400) $ 20.00 
from Be Vine Computer S ales! 8m 2x3Z 60ns sjmm (#03401) $ 40 ,00 

16 & 32 MB SIMMS are for use with MS Warp Engine & A4660 16MB 4x32 60ns simm (#03402) $ 80.00 

Processor Options, they will not work on the A4000T Motherboard! 32MB 8x32 60ns Simm (#03403) $160.00 

VldeO TOSSter 4.1+ -(Hardware t Lightwave, Switcher. Character Generator. Paint Prg. ) (#02201) $1995.00 

VldeO Flyer 4.1+ - (Video Toaster REQUIRED') (#02202) $3899.00 

9.1 GB HD Video Tested / Formatted & HQ5 Configured mASSi) $1299.00 

Stores 99%+ HQ5 Mode 1 That's approximately 35 minutes of HQ5 footage 1 (Standard mode stores even morel 1 ) 

4.6 GB HD Video Tested / Formatted & HQ5 Configured (#14544) $ B59.00 

Stores 99%* HQ5 Mode! That's approximately 18 minutes o( HQ5 foolagei (Standard mode stores even more' ) 

2.1 GB HD Video Tested / Formatted & HQ5 Configured <#i4568] $ 679.00 

Stores 99%+ HQ5 Mode! That's approximately 8 minutes ol H05 footage! (Standard mode stores even more! j 

{ Required to connect Syef to external cabinet ) 

Octopus Cable - 

Midtower Chassis / External Cabinet - 

Houses up to NINE devices, five 3 5* bays, four 5.25" bays. 250 watt power supply, three 
internal seal daisy chain cables, 7.7* wide x 18 1* tall. 16.6* long 


Required to install toaster / flyer software 



(#14113) $ 95.00 
(#53001) $ 49.00 





■ ■■■k 

■ ■■■■. 

. ■ ■■■■' 
■ tmmmr 



Perception Video Recorder (#02217) 1590 

Perception Capture Option (#02248) B59 

RS 422 Option (#02249) 185 

Bundle with external cable (#02227) 23G9 

Perception Audio A4V (#02243) 1229 

Perception Fx Accelerator (#02250) B29 

Time Base Corrector IV (#02203) 795 

Tine Base Corrector III (#02235) 6G5 

Vector Scope (#02221) 795 

Animation recorder AMIGA (#02236) 1899 

Animation recorder PC (#02237) 1545 

Hollywood D1 VDR CALL 



oT00 LT External (#14951) $845 

60M8 per minute 
2 year warranty 

7 / UGB 

uncompressed / 


SCSI / 4 II 

Bmm 160m 

8NIM 160M TAPE (#15205) $75.00 

8505XL Internal $1935.00 

Same specs as above 87O0LT but can also 
Utrn off compression and can verify data 

Eliant 820 Internal $1599.00 

Same as above S700LT but twice as fast I 

Mammoth 20/40 (#14957) 4279 

3072k /second - hvo year warranty 

20GB uncompressed / SCSI I & II 

40GB compressed / Bmm 170m 



BMM 170M TAPE (#15209) $95.00 


SDX 300 25 / 50 3699 

3072k /second - hvo year warranty 

25 GB uncompressed / SCSI I & I! 

50 GS compressed / Bmm 170m 

8MM 170M TAPE f#15209) $95.00 


TAPESTOR 8000 (#14958) 3G5 

1024k / second - two year warranty 

4GB uncompressed / SCSI I & II 

8GB compressed / TR-4 Tape 

TR-4 BGB TAPES $35,00 



6S040RC40 W/MMU & FPU 



68040RC33 W/MMU & FPU 



68040RC25 W/MMU & FPU 



68030RC50 W/MMU 



68O3ORC40 W/MMU 



68030RC33 W/MMU 



68030RC2S W/MMUI 






























Extensive stock of Motorola, lntel,& 
Cyrix processors available, so if what 
you are looking for isn't listed, call us! 



64MB 72PIN 16x32 60ns (#03442) 299 

32 MB 72 PIN 8x32 60ns (#03403) 160 

16 MB 72 PIN 4x32 60ns (#03402) 80 

08 MB 72 PIN 2x32 60ns (#03401) 40 

04 MB 72 PIN 1x32 60ns (#03400) 20 

We are proud to announce that we offer 
a LIFETIME WARRANTY on all chips 
we sell, 

Call with your needs! 


3D Rom Volume 1 or 2 


3000 Jpeg Textures 


Add Deplh 1.1 


Animator Studio 1.1 


Air/Sea/Land Vehicles 


Canvas 5 


Clip Model Library 


Corel DRAW! 6 


Corel DRAW! 6upgrade 








Director 5.0 


Director Multi. Studio 




Extreame 3D 


Fiber Factory 


Freehand 5.0 


Freehand Gphx Studio 


Garden Hose 


Graphic Design Studio 


Hijack's Graphics Suite 


Kai's Power GOO 


Truespace SE 


Wavefilter Net Plus 


Wavenet Pro 


World Construe. Set 2 



lOMega Jazz Internal (#14908) 
lOMega Jazz External (#14907) 
lOMega Zip Internal (#14906) 

lOMega Zip External (#14905) 
Syquest 44MB Internal (#14900) 
Syquest 88MB Internal (#14901) 
Syquest 105MB Internal (#14960) 
Syquest 135MBExternal (#14959) 
Syquest 270MB Internal (#14904) 
44MB Syquest Cart. (#1 5200) 
88MB Syquest Cart. (#15201) 
270 3. 5' Syquest Cart (#1 5202) 
Jazz Cartridge (#15213) 

Zip Cartridge (#15210) 
















SANYO 4X Internal #14119 95.00 

600H/second- 190ms 

seek time - 256k buffer 

scsi I & II - Caddyless 
SANYO 4X External #14122 154.00 

also includes case with 

power supply fan & 

DB25-CENT50 cable 
PLEXTOR 12X Internal #14118 299.00 

1800k/second- 105ms 

seek time-512k buffer 

scsi I ill - Caddyless 
PLEXTOR 12XXternal #14121 358.00 

also includes case with 

power supply, tan & 

DB25-CENT50 cable 




*** BRAND NEW *** 

(#14207) $ 699.00 

(#14708) $ 758.00 
Mastering ISO $139.00 . 



Action Scanner 2 #13000 4gg 
1200 DPI 24bit color 
ES1000 Scanner 2 #13001 699 
1600 DPI 24bit color 



9.1 GB Atlas ll-N Ultra 

9.1 GB Atlas ll-W Ultra 
perception / flyer drive 
7200 rpm - 8ms ■ 5 yrs 

4.6 GB Atlas ll-N Ultra 
4.6 GB Atlas ll-W Ultra 

perception / flyer drive 

7200 rpm - Bms - 5 yrs 
4.3 GB Grand Prix 

7200 rpm - 8ms - 5 yrs 
3.8 GB Fireball (IDE) 

4500 rpm-10.5ms-3yrs 

3.2 GB Tempest (IDE) 
4500 rpm-10,5ms-3yrs 

2.5 GB Sirraco (IDE) 
great with dps par 

2.1 GB Tempest SCSI 
4500 rpm - 10ms - 5/rs 

1.12 GB Atlas SCSI 
great newtek flyer drive 
7200 rpm - Bms - 5 yrs 

IBM 2.1GB SCSI l&ll 
8 MS- 5 YRS 

















(#14524) 399 

£P Seagate 

9.1 Barracuda 19171 N 1859 

9.1 Barracuda 19171W 1949 

7200 rpm - 8ms -5 yrs 

99.10+% HQ5 III 
9.1 GB Elite 41080ON 1595 

perception / tlyer drive 

5400rpm - 11ms - 5 yrs 

90% HQ5 !!! 

4.3 Barracuda 34371 N 975 

4.3 Barracuda 34371W 1025 

7200 rpm - 8ms - 5 yrs 
2.1 Barracuda 32171N 679 

2.1 Barracuda 32171W 749 

7200 rpm - Bms - 5 yrs 
52525A 2.5GB (IDE) 275 

32121A 2.1GB (IDE) 245 

54QMB 3660A (IDE) 169 

420MB 3491A (IDE) 149 


9.1 Tomahawk 3391 N 

9.1 Tomahawk 3391W 
fastest drive available! 
7200 rpm-7.9ms - 5 yrs 
99.50%+ HQ5 - 3.5' 

9.1 Scorpio 1991NAV 
5400 rpm-12ms - 5 yrs 
80. 10+% HQ5 - 5.25" 

4.5 Tomahawk 4345N 

4.5 Tomahawk 4345W 
fastest drive available! 
7200rpm-7. 9ms - 5 yrs 
99.50%+ HQ5- 3.5" 

3.6GB 1936 
S400rpm - 12ms - 5 yrs 
512k cache - 5,25" 

1.7GB 2217AV 
great pvr/ flyer drive 








302 738 9259 24 HOUR FAX 
302 738 9046 ORDERLINE 
302 738 9267 INFOLINE 



NEWARK DE 19702 

ORDERLINE 1 800 699 4049 


Circle #240 










21 2-444-500 1 On the Web: 


Authorized Dealer 





■ All equipment complete with USA warranty and all accessories 
as supplied by Sony • Call for the best prices 


DV (IEEE1394) Still Image Video Capture Card 

The world's first 'Firewire" card, ihe OV6K-1QO0 connect Sony OV camcorders to your PC aid Ms 

you capture the highest quality and cleanest digital video mages [&40 1 4&Q pixels, 24-bl] as computer 

dau without the need lor anjioj conversion. An lSA-sl:l fcoara. she DVBK-1000 sets up easily with the 

supplied software, allowing you to save images as standard Bitmap (BMP) dies where they can be 

manipulated and added to graphic layouts, presentations or ever websites on the Internet 

■ Caatures a Single frame of live video using a Sony DCR-VX700. ■ F!C Time Coce is displayed on screen so you can easl 

VX-1GQ0 or the DGR-PC7 camcorder, you Can shoot Irve video— ly identity the exact frame of each still image 

and when you see ttie shot ycu want, you can capture the image ■ On-screen camcorder conlrol va Control L terminal gives 

with point -and -click control. 
' Auto Sequential Frame Capture Mode lets you use you camcorder 

in play modeand captures a continuous sequence of frames. 

* Adaptive frame interpolation uses software to Interpolate 
between two video fields to Improve the quality of each triage. 

* Aspect ralio conversion aulomahcaliy converts for correct pro- 
portions on your computer screen (via software). 

you pomi-and -click menus to control camcorder functions such 

as Play .Pause. Stop. W, Hew. Cue Review and Step 


Bundled with DV CAP installation software for capturing video 

Images, and DV VIEWER Tot image decompression, adaptive 

Irarme interpolation, aspect ration conversion and to save image? 

as bitmap (BMP) I lies for on-screen vie wing, screen viewing. 


AG-EZ1 3-CCD Digital Videocassette Camcorder 

* Tnree CCDs with 2 JO. 000 pixels each are horizontally staggered Tor 
optimum resolution 

* Digital recording system delivers incredible 500 fines of horizontal resrjluton 
and virtually no noise. The signal -to-norse ratn is 54dB. an improvement ot 
6-9 dB over conventional analog systems. This actually represents a S'N ratio 
2-3 times better than existing camcorders. 

* Audio is also recorded digitally using PCM (Pulse Code Modulation) tor quali- 
ty mat ovals CDs.Tou can choose between two-channel lo-brt. recording or two 
sets ol 1 2-bit stereo, with the second Ml reserved Tor uses such as narration 

■Induoesi huge 1 5" 1BO.0OC pixel cokx Yiewlincer The viewtuxMr also bits 120 
degrees vertically lor shoaling su&tects Tr om high or low angles, 4 its professional 
site means you flon'1 have to Dtess it against your eye to see the picture. 

* Built-in Digital Electronic Image 1DEIS1 compensates Tor jittery video and 
i$ particularly ettective when he digital zoom is employed. 

* Equipped with 10:1 power arid 20:1 oig rial room lens .Bctti zooms are adjustable in 
lour speeds (3 5 seconds— 15 seconds) based 1 on how hard or soft the zoom tog- 
gle is pressed Td set jp a shol quickly, a Turbo Zoom Tuiction moves from tight to 
wide angle, or vice versa, in under two seconds For extreme close-ups the lens 
can toe js up to 1 '4 Inch Irom the subject. 

« Digital Photo-Shot let's you record a still- 
frame tor about Six seconds, while audio con- 
tinues as normal Ths feature is great lor cre- 
ating video photo albums o>i insurance tapes, 
as 290 still pictures can be recorded on a sin- 
gle 30-minute tape and 560 shots on a 60- 
tninute (ape Using the TopScan feature any 
shol can be lound easily. 

|%/P GR-DV1CyberCam 

■J W U> Digital Video camera 

Weighing in at 1.1 pound with battery and tape, the 570.000 pi*el GFI-DV1 is one of the smallest ar>d lightest 
camcorders in ths world Technological advances along with miniaturized high quality optics have made this 
possible wilhoul sacrificing any quality or features-. Add digital video and audio recording and you have one of 
the most versatile recording tools ever developed. 

The GR OVI combines a 570,000 pixel CCO with 4:1:1 digital 
component recording to deliver razor sharp pictures with 500 
lines of resoiuhon Digital Imags stahillzei eliminates camera 
shake without aflectlng resolution 

CD Quality audio is now available Digital audio recording delivers 
2 channels a; 4SkHi (t6-bit) sampling lor highest quality or four 
channels at 32&H* OS-Bit) when dubbing o; mixing is required. 

A multitude ol special effects are possible with the GP.-DY1 
including wipes, lades, and dissolves in addition, some special- 
ised eftstts such as Classic Film. Monotone. Sepia and Strobe, 
can tie recorded in the camcorder or can be played through dock- 
ing station— even it they weren't originally recorded. 

• Snapshot mode raptures still images with a wnite border 
around it and even adds a shutter sound effect in Motor Onve 
mode multiple snapshots get recorded In rapid succession 
with an interval ol 0.7 seconds between pictures, A Snapshot 
Search feature lets you put together a video album using cap- 
tured photos 

- DuckPr* or 5- second- record mode automatically records frve 
second dips oT video and audio when start button is pressed. 

• An rraimn mode records scenes lor just VBtn. of a second each 
time ihe start burton is pressed. When inanimate objects are 
recorded with siigm crunges m position between shotsan anh 
matwn effect js rendered to in? objects making them come alrve. 

I0X vaiiabfe speed optical zoom with 
bull-In macro delivers lazor sharp 
images from a distance- or as close as 
l .5 ■cm. A 20X d gital zoom and i COX 
Super Digital zoom allow image cap- 
ture from tremendous distances while 
retaining a good degree of sharpness. 
Zoom rocker control is used lo make the different selections as they 
appear in the color viewflnder so you can p<ck settings from the 
menu without taking your eye away oh* the viewfinder This design 
also keeps controls, and switches to a minimum 

Muh>f unction dotting station offers even nor b sophisticated play- 
back capabilities, plus advanced editing functions 

• R.A (.fiandom Assemble! editing enables programmed rearrange* 
men! gri up to I scenes at a bine- just by marking the beginning 
and end of scenes. 

* Insert editing and 4-cnannel stereo audio clubbing aie possible 
using the docking station. Video insert allows new video to be 
inserted: over prerecorded segments without disturbing the audio 
Segment. When inserting audio. 16 brl (48<Hl) fuEl audio insen. 
replaces recorded audio without disiurbmj the existing video track. 
In the 1? bit {32kHz} mode. 2 additional audio Hacks can be added 
to the existing audio and mixed 

' In addition to the five special effects available through the docking 
station, there are 17 scene transitions that can be selected 


Compact Digital Video Camcorder 

with Incredible high resolution LCD color monitor which allows clear viewing ol indoor and outdoor 
subjects lhanks to Its polycrystalllne-sincon TFT ICO dnelgn. 


AG-DP800H Supeaenm 

S-VHS 3-CCD Digital Signal Processing Camcorder 

Three high-density 360.000 pixel CCDs with hait-p<ieh pixel offsei achieves over 750 
l.nes of horizontal resolubori. a S'N ratio of 6Qd8 and remarkable sensitivity of f& at 
2000 lux. Additionally the Frame Interim? Transfer (FIT) CCDs minimize vertical smear, 
so you maintain impressive picture quality evert in very blight illumination 
Digital Signal Processing circuitry provides lour valuable benefits 

1) Consistently reliable up-to-spec performance 

2) Fine adjustment ot a wide range of parameters 

3) Memory storage and instant recall of specific sellings 

4) More flewble and higher qualify image processing, as well as easier maintenance 

* Six Scene File modss. There are two user modes lor custom ftgitd parameter settings including Honzcntal Detail. Vertical Detail 
Chtoma and Dark Detail, and Color Correction- The lour preset modes are normal, fluorescent, special and sparkling. 

« In addition to regular AGC (Automatic Gam Contral). Supercam has a Super High Gain mode At Fi 4 ih$ enables shooting under llu- 
minattcn a$ low as 2 Ijk while retaining detail and color balance. 

* Synchro Scan function allows finlter-frae shoobrej of cumputaf monitors Electronic shutter increments can be set variably Trum 1^1 
seconds lo 1/253 ol a second. 

* Built-in infernal time code generator lets you reccrd with SMPTE LTC/VITC jLongrrudinal/Vertical Interval) time code 

■ Two hi-U stereo audio cnannets with a dynamic noge of SO dB. as well as two linear audio channels wrh Dolby NR. NoimaLXi-Pi 
recording is selectable Uses XLH connectors to further ensure high-quality irjund 

* Has a 26-pin connecter on Ihe back that outputs a composite ot componenl video signal This enables convenient backup 
recordings using an additional VCR equipped with a 26 or 14-pin connector 

■ Phantom power can be supplied to in optional microphone Power can be SiVdched ott lo prevent battery dram when not in use 

JVC profess,onal 

GY-X3 3-CCD S-VHS Camcorder 

By employing professional camera technology in new economical ways. JVC has succeed- 
ed in bringing id maiket a professional 3-CCD camera lhat breaks all previous piice barri- 
ers. The ng^ GY-X3 delivers all the perlormaiice ol a high end 3-CCD cameia— high reso- 
iuhon. high sensitivity, low noise and nalurai color— at an incredibla price. 

* Three 1/3" CCDs provide a sensitivity ol 2000 lux at F8 0. signal -to -noise ratio of 
60rJB and 650 lines of horizontal resolution. 

* Low light capability allows you to shoot in as little as A lux and still have bright pic- 
tures with good resoiuhon and strong, vivid colors 

' Full Auto Shooting (FASJ mode instant!/ adjusts to changes in shooting conditions. 
You can. go Iron) bright outdoors to iindoor lighting and gain. iris, audio level and 
color balance will all be automatically adjusted 

* Variable Scan View allows tlicker-lree shooting ol a computer monitor 

• Has a built-in 14:1 (5.5-77mm) conlinuosJy variable speed zoom lens. The amount ol pressure applied to ihe rodcei deieimmes 
the speed of the zoom. Both the iris and zoom can be controlled manually it desired 

■ Buril-m Control Track (CR) time code generator as well as a time/date genetator. The advanced CTL time code generator has a "scer.e 
finder" function that records an identification code each time you start taping This lets yon ettaj ao.anee to the next or previous scene 
when using ihe JVC Edt Desk system. 

■ Large high resolution l 5-incti viewfinder displays comprehensive status indicators. 

GY-X2B 3-CCD S-VHS Camcorder 

■ Newty designed three t/2* CCD image sensors djtrM 750 lines ol homwitil 
resolution 4 superb signai-lo-nrjise ratio ot 6?d9 

■ New micro-lens technology prov»des exceptional sensitivity of FB at 2000 lux 
and LOLUX mode bets you shoot with almost no iighi< Shoot superb footage 
with excellent color balance at a mere 1 b lu* 

■ Variable Scan allows flicker-free shooting ol a computer screen 

■ Quick fleccrd Mode - wrien turned on the umeta is set to the auto iris even ft 
fens is set at manual. Afso activated rs (ALC) Automatic Level Control 3^ EH 
Extended Electronic iris which provides both variable gain and variable shutter. 
Now you can shoot :ontmuousiy from dark room to bnght outdoors without 
having to ad r ust gain, ins ot NO fl U f 

■ Full Time Auto White circuit lets you move Irom incandesCEnt lo fluorescent to outdoor lighting without changing white balance or the 
filler wheel »Dual output system allows camera output lo be connected directly to an external recorder 

KY-27C 3-ccd 

i New 2/3-inch broadcast-quality 260.000 pixel CCDs with 
advanced electronics deliver 
resolution ot BOO horionlal lines and reduced smear. 

< High sensitivity ol F9.0 at 2000 lux allows a truly usable mini- 
mum illuniirialion ol 1 1nn with JVC's exclusive LoLundual pixel 
readout sampling lechnigue 

1 LoLun mode allows shooting scenes lhat were previously 
Impossible due to insulficient lighting, CCDs are maximized lot 
low Hghi sensuivity equivalent to an electronic gain of 24dB. 
Ihen Ihe dual pixel readout system is added which provides ^ 
additional 6dB Together ihey provide +360B without Die noise 
and picture degradation normally associated with this much gam. 

i Signal-to- Noise ratio ol 63dB assures virtually "noise tree" images 

i Auto Knee circuitry extends a scene's light to dart dynamic 
range repioduciion by up to five times without overexposure. 

Color Video Camera 

• Has laige 1 .5-inch wfawfiWftr w.lh 600 lines ot resolution and 
S-MPTE color bars Status system provides audio levels, accu- 
mulated or remaining recording lime, VTR operation, battery 
voltage and camera s^iup. Zebra pattern indication ana safer/ 
rones wilri a center marker are also provided 

* Variable scan function enables a precise shutter speed from 
V6Q2tO 1-196 7 Of 8 second in 256 increments lo beset, 
matching a computers scan rale Almost any computer display 
can be clearly recorded. 

■ Camera head allows direct input of genlock signal and timing 
adiuslmenl. A wtde range optional remote controls. RS-232 
interlace, mulliccre and triax CCU's are available 

■ Docks directly to the JVC BR-S422U. BR-S411 JB and BR- 
S42CCU professional S-VHS recorders, Optional adapters tor 
tfoddng to Hi-fl and Selacam SP are also available 



World's First Dockable DV Format Recorder 

Now lor the first time, you can combine a DV recoder with the hig.hest quality professional cam 

eras, unlocking the lull capabilibes ot the DV formal JVC's new BB-DVIO is a proles- 

swnal mihi-DV recorder that docks to industry s most popular 3-CCD cameras It 

adheres to the standard DV lormatso Uat your tapes can be played back in any 

DV system, including the 'pro' denvatrves offered by Sony and Panasonic It's 

lightweight and perfectly balanced And best of all. it's, the most economical way 

achieve the highest DV quality 

Image quality starts with me camera. Unfortunatefy. most DV camcorders irtfliie 

prosumei-grade cameras and lenses thai don't supply the level ol quality that 

DV recording is capable ot The 6R-DV1 0. docked with a high quality camera. 

offers the best DV quality possible The DV lormat rjiocesseS vnJeo m the 4 It 

domam Its DCT-bastd mtra-Trame compiession yields a bit rate of 26 megabits 

per second The final lesuft is picture quality that is Tar superior to prosumer- 

based OV products It is ideal for those who cannot afford the superior 4:2:2 

Quality ol JVC's Digital-S format. 

Because the BR-DV10 is designed to integrate perfectly with today's prolessianai cameras, it gives you the tit and: balance you need tor 

held recorcmg. JVC built the VTR to scale with the human body. It is economically crafted so thai the ccntrois and switches are large 

and easy to reach and manipulate. The budy was careluily created to balance peiTecily and prevent shoulder strain Its sue is neither loo 

bulky, not too minuscule. 

The Bft-DVIO docks directly with JVC s. KY-27C and KY- 1 9 professional 3-CCD cameras. Additionally, il will dock with many cameras trom 

otner manuljcturers Ihnugh an appropriate adapter (Adapter musi be sgpp!:*u ny the camera manufacture! j 




800 221-5743-212 807-7479 


800 947-2215-212 366-3738 

119 WEST 17TH STREET, NEW YORK, N.Y. 10011 

Store & Moil Order Hours: 
Sun 10-4:45 • Mon & Tues 94 • Wed & Thurs 9-7: 1 5 • Fri 9-2 • Sal Closed 




Now. you can Instantly reach a professional sales associate in our Order Department to assist you with your spe- 
c lie needs. This new feature will speed you through the information and ordering process, making your commu- 
nications with B8K a more pleasurable expe/ierce. Simply look over the chart below to see the QuickDial codes 
lor each department. Call B&H. then dial the corresponding department code at any time during our welcome mes- 
sage, to instantly conned you to the department you need. 

QuickDial Options for • VIDEO • PRO-AUDIO MENU 


Industrial-Broadcast Equipment 


3D Animation 

Pro Video Equipment & Accessories 74 

N llc-n-Lmeaf Editing a Computer-based Video 731 


Pro Audio Eguipment 

Used Video Equipment 


3 Panasonic 

AG- 1310 Industrial 4-Head VHS VCR 

• HP (High-Flesponse) mechanism uses the Juil-raadir.g la^e transport system for quieter picture display. fast forward arid rewind 
1 En'arged m uitHunction display gives all Inform alien ai a glance. Indications for trie lime, recording at playback mode and other often 
used (unction? are easy to confirm Irom across a room 

■ S-VHS quasi playback (5QPB) IbE's you playback S-VHS tapes [in normal VHS resolution), 

■ Postures a rugged mElal cabinet 01 an aluminum die-cast chassis includes lull one-year warranty on cans and labor. 

■ Other features include buiJi-on head cleaner. end-ol-vidso auto repeal, real-time counter, frame advance, hign-sp^ed search (27* m 
SIP mods). 1 Bl -channel tuner one touch recording. 

AG-2550 Industrial 4-Head VHS Hi-Fi VCR 

Sams exact features as Ihe AG-131.D ptus- 

* Super jog/shtuitle puts 19-sleo control over playback speed al your fingertips. 

■'i ■. ;[■■■:; ypu greater control white searching lor scenes. 
■ Hi-Fi stereo sound system wlfci a dynamic rangg cl more than 90 dB. 

AG-1980 S-VHS Hi-Fi Editing VCR 

Incorporates advanced Digital sgnal processing and digital noise reduction ciicjjitry to 
deliver such high picture qaiffly—ftal it's third-generation picture looks almost as good 
as fust-generation offerings fro™ other VCRs in it's class, in addition, the AG-19B0 also 
features a full fiefd digilal TBC, nsart and assemble editing. Hi-Fi slereo. quick response 
mechanism and a remote editing terminal. 

* Siili ihe only VCR in it's class lo provide near frame accurate 
edifmg. When used with edit cjnlroltors from Videonics. FAST 
and t"uturoVideQ h the AG-fSBO achieves 3n ace jracy of i2 
Iranes And. the 5-pin edit leirninal on the rear panel mates if 
very easy to sel up 3n editing system 

• Performs all assemble and video insert ediis as well audio video 
dubbing Also has independent linear audio input and output tor 
more Heebie audio dubbing. 

■ Hi-Ff stereo audio with a frequency response of 20Hz to 20kHz 

and a dynamic range of 90dB U also has Hi-Fi recording ! evel 

control, headphone monitor terminal with volume control and a 

mic input terminal 
» Advanced dual-loading mechanism features a quick response 

time, requiring Qn ^ 9.5 seconds tor a picture lo appear from 

Stop mode and 1 9 seconds from FF/REW. 

■ Digital Processing: 

—Digital Comb Filter using advanced 3- dimensional system pro- 
vides complete Y/C (luminance/chrominance J separation. This 
practically eliminates color and luminance blurring 
—Field coefficient Digital Noise Heduction (Dnr) circuitry 
processes the Y and C signals separately, thereby boosting the 
signal-to-noise ratio and reducing noise djnng playback. 
— Has a buitl-n full field TBC (Time Base Corrector) that elimi- 
nates even the smallest of jitter, skew, head impact error and 
color blurring, invaluable for editing, the TBC helps maintain high 
picture quality even through the third- generation. 
•Besides it's digital circuitry, the AG-t930 afeo features laminated 
video heads. Cleariy superior lo heads ot conventional ternte 
Ihey provide richer, more vibrant color reproduction and a higher 
signal -to- noise ratio. 

AG-5700 S-VHS HI-FI RS-232 Editing 

* Built-in RS-232 provides mach ne control ot playback, recording and editing functions from a 
FC. Us* the pc.'.er of your cs-rpute- I'/.Mf- :c:cry £tfr,'-3-«i t- ^ssTff ^Lrdreds cf 
scenes, create edit decision lists and do compter editing 1 joEJs. 

■ Uses amorphous video heads which are clearly superior la conventional fenrite heads - mag- 
neliiing strength is much greater, yielding a higher s.fJ ratio. 

■Incredibly accurate, with ooti&nal AG-A570 Edit Controller. 
accLracy of 1 3 frames is achieved. 

■ Auto Repeat function continuously replays a tape which can 
be cued for tapes end or when recorded material ends 

* Separate Hi-Fi {Ch 1/Cti 2| audio recording level conjros 
with display. Also has a headphone output with volume 

ideal lor video presents! ions The AG-5700 weighs less than 13 
lbs, eztremety compact with 3 built- in. carrying handfc. 
Sensof Recording function lor unattended recording When a 
video signal is detected the power is automatically switched on 
and the AG-570C begins recording 

AG-A850 Multl Event Editing Controller 

Equipped with five R5-422 {9-p n> remote terminals, the AG.-A&50 can control! five VCRs and 
prodLce three tapes al one time 11 also features a 5i2-event memory and h*o sets of Jog and 
Shutte dials When you connect 4 players and 1 recorder, tie AG-AS50 allows control of 2 
players as source machines (Any of the connected VCRs can serve as the recording source, 
wiih selection made at the control panel ) When 2 Payers and 3 recorders are connected, all 3 
recorders -can be controlled, aikrwingi simultaneous production of three tapes. 

■ Massive 51 2 multi-event memory, allows a program v/rth 
many cuts to be automatically and continuously edited. 

For convenience, the oata is held in memory for 3 days. 

• Two sets ot Jog and Shuttle dJaJs assure excellent control, 
iG-key pads aods convenience when entering edit points 

• High-precision ecfttmg (* frame with rime code ) 

• Slow-motion editing using VCRs with dynamic (racking 

■ Auio Tag Function for easy multi-event Editing 

■ Provides two GPI ports, one of which can oe set tor two opera- 
tions in one event to allow control of a CD, DVE or cJwacter- 
gsnerator device that has a GPI input term nal. 

• Simple-mode setting [cut edinrig.'singls event. aiS Roll and split 
audio editintj. ■ 4-c-harmsi audio editing, color frame editing, 


■ Digral Signal Processing lor improved picture quality., and for maintaining uniform 
picture Qu-iiity during sailing. Digital processing circuiis irdude 

—Chroma Aperture Compensation (CAC). Eliminates color blurring and expands 

chroma bandwidth. 
—Digital Noise Reduction (DNH|: Processes Y/C signals separately to boost S/N 

Ratio by mmtmizing nDise durng playback. 
—Digital Comb Filter: Advanced 3 -dimensional svstem lor total Y/C separation providing 

reduced color and luminance blurring 

* Employs amorphous wdeo heads lhat have a htgher magnetic 
coercrvily than conventional fertile heads. Exparttfed frequency 
response (torn the amorphous leads enhances picture quality by 
minimizing color blurnng, 

•Built-in LTG/VITC (UrtgrfudmatVertical Interval! time code read- 
eif'generators for absolute (rams accurate editing. 

* Two hi-fi stereo channels with a dynamic range of 90dB as 
well as 2 linear channels witti Dolby NR, Each audio channel 
has ils own input (AG-D550 only) grid output wilh indrvdual 
channel-level selling capability and XLR connectors. 

■ Performs audio spM editing which lets you sel the editHn and 
Hit-out points separately Irom those lor video 

S-VHS Source Player/ S-VHS Edit Recorder 

3-dimensional digatal 
TBC provides 
excellent dropout 

(Q mechanism deliveis precise, high-speed operation The dual- 
loading system achieves high-speed response while protecting 
tapes and heads. The tape transport mechanism uses Iive direct 
drive motors, including two reel drive motors. 
Capstan Control System with large capstan spindle allows high- 
speed search d 32* normal Sgeed (with color picture). 
3 rack units high, they are compact tor easy space saving 
installation, ISTradt-mountable with optional AG-M730 


SVO-2000 S-VHS HI-FI Editing VCR 

The SVO-2000 is a powerful, yet easy-IO-uS* S-VHS Hi-Fi editing 
recorder Two SVO-2000's combined with the optional AM-2M Edit 
Controller form a cost-efficient cuts-only editing system - with a'ssem- 
Qle, video insert, audio dub and program editing. 

Spirt HdHJifU *frtvm#flw 
• S-VHS format delivers 400 lines ol horuonial resolution and con- 
sistent, dear image reprotiuciion for superior editing results. 

■ Adaohve Pctuf e Conticl (APC) for optimum picture In rscord 
mode. APC automaiicaly tests an Inserted tape and checks the 
condition pi the video reads. It then adjusts the recording circuit- 
ry to capture clear and crisp images In playback , APC automati- 
cally sets the 'deaf balance or picture sharpness and clarity, 

■ Hi-Fi stereo recording system has. a wide frequency response ol 
MHz to 20*R2 and a SLperb 9M6 dynamic range, and individual 
recording level controls for the left and right channels. 

• The SVO-2000 has a Control-Edit 5-jnn remote lermmai lhat 
allows i'. to be controlled cm malty Connects directly to ihe 
optional HM-250 tor easy setup. 

• Controls input and output terminal allow two SVO-2000S to be 
connected for synchro edrting-wrthoul the HM-250. 

• iHM-350 also Otters program edibng capability, which allows auto- 
matic sequential editing of up to 20 ore-assigned scenes. 

SVO-21 00 S-VHS Editing Recorder 

Eitellent Audio tndVideD 

> S-VHS format provides excellent picture quality and consis- 
tent, clear image reproduction lor superior editing results. 

■ For-channel audio recording Two-channel Hi-Fi siereo wlih a 
superb 90dB dynamic ran[je and a wide Irequency response of 
20Hz to 20kHz. Plus two editable longitudinal (normal) audio 
tracks, By using the AUDIO MONITOR selector. Icngjludinal 
audio or Hi-Fl audio can be monitored . 

• Auto head cleaner removes tape residue preventing head clog- 
ging and deterioration of picture quality. 

> Continuous auto repeal olayback function. 

Playback tnd Recordl ng Functions 

• By connecting multiple SVO-21O0 s via the VIDEO IN connec- 
tor or THROUGH connector, fhey can simultaneous record ihe 
same program. 

■ When the Power On Recording or Power On Plavbaclc is set, 

it automatically starts recording or playing back a program the 
moment Ihe powar is Supplied from externally connected 
equipment. This allows unatlended automatic VTR operation. 
Accurate Etitino and Remote Control 

■ Optional SVBK-10 (RS-232C Interface Board with LTC time- 
code reader and generator) allows the SVO-2 100 to commu- 
nicate with enter nal equipment such as computers or Sony's 
FXE-100/120 edliinfj system. 

■ When used with a computer, the system can be used to create 
computer graphics, thanks to the SVBK-1 supporting com- 
mands lo Number Frame Record and Auto Edif. 

•Whonused with ihe FXE-100/120, you havo a cost effective 
frame-accurate (LTC timetode) editing system whTi full 
Assemble. Insert. Audio Spirt. A-rotl. and A/B-roll editing. 

* The SVO-2 100 can be operated with an optional foot switch. 
Recording can be started 1 01 stopped Irom the external foot 
switch connected to the Foot S\N jack of the SVO-2 100. 
During recording, the Rec Tally signal can be output from the 
Foot SW jack. The Rec Tally signal is uselul when used with a 
monitor with Tally IN capability. 

• Optional SVRM 100A 01 RM-V200 Remole Control Unit allows 
remote control of Ehe SVO-21 OO's e basic functions. 

m jvc 


SR-S365U S-VHS Recorder With RS-232 Control 

With high-resolution S-VHS. jog/shuttle search an<! built-in RS-232C interface, the 
SR-S365U is the foundation ot an affordable pro editing syslam. Convenient (unc- | 
lions such as insert/assemble editing and Random Assemble Editing let you pro- 
duce edited programs right away, And since Ihe SR-S36SU is desioned for use 
with Ihe professional RM-GSOOU Edit Coniroller, putting loge-iher a high-perfor- 
mance editing system with ail the benefits of precision CTL time code editing has never been easier. 

S-VHS picture quality with 40Q lines of honzonta! resolution 
plus natse reduction circuity keep pictures clear and sharp. 

• With |ust the RM-G80QU and a pair of SR-S36SU s, you have 
the most economical and productive time code editing system 
available Edit video independently ot the audio H adding new 
audio later if desired For faster, more flexible editing, build a 
mixed system, using the powerful BR-&BOOU VCR. Either way. 
you'll get ihe benefits of CTL lime code. 

■ Huift-in time code generator/reader utilizing JVC's CTL Time 
Code Syslem records time code data on the control track for 
fast and accurate access lo any frame. Far superior 10 con- 
ventional control track counters that lose reference when the 
tap* 15 removed irom the machine. CTL Time Coce can also 
be post-stnped without sacrificing the audio track 

• Built-in RS232C interface SO yflu tan conned it directly to a 
PC Compatible with the many RS-232C-based editing con- 
trollers available today. 

• Two channels ol Hi-Fi for dynamc. high-quality stereo sound 
and an editable monaural (normal) channel A new selt dub- 
bing function allows you lo copy the existing Hi- Fi track onto 
the normal audio track. 

Other "ea tines 

* Flying erase head 

• Automatic fwad cleaner 

♦ Hi-Fi audio recording level controls and indicators 
« headpione connecter with volume control 

* Digital hour meler indication 

VES-58 EDIT-DESK S-VHS Editing System 

BR-S500U Edit Player • BR-S800U Edit Recorder 
• RM-G800U Edit Controller 

Fast accurate and professional editing is affordable Linked via JVC's proprietary 
control bus. these three units offer all ol ihe edinng features professionals have 
come to expect The VCRs feature a fast heavy-duty tap* dnve and the built-in 
CTL (ControlTrack) time cede provides unparalleled accuracyand flexibility. Besf 
Of all. the VCRs feature an open architecture lot sisy system upgradeabiHy. 

Pictuie Improvement tichnclogJes like digital Y/C separation chroma noise reduc- 
er, chroma aperture correcton and a 3-lme cross-talk cancellation all combine to 
offer outstanding image quality, even when dubbing down multiple generiisgns. 

JVC's CTL (Control Track) Tims Code System records absolute tape address information (hrs: min: siec: trames) On the control track, tor 
fast and accurate access tg any frame on the tape - tar superior to control track counters that lose reference when the tape is removed. 
CTL Time Code can also be "post striped" during recording 

Two Hi-Fl stereo channels wtfi a wide frequency response and 
dynamic range ot BO dB and two linear iracks. The Bfl-SBOOs lin- 
ear tracks can he dubbed independent of each other ind of Ihe 
video - ideal for adding background music or sound effects. There 
are 2 audio level meters, swrtchable between the Hi-Fi and linear 
c-hann? 15. Separate input aid output isrrninais are provided. 

Two plug-In $*iflnsion slots on the rear panels ol both VCRs 
accepl oolional expansion boards Tp build a PC-based edri sys- 
tem, add Ihe 5A-K27UA {RS-232C i ooard To use with RS-422- 
based edit conrrollars. plug In |he SA-K26U (R&-422) card. Other 
boards mjJude the SA-NSOU DNB board with time base stabilizer, 
and the SAR50U VITC/LTC tima code generator/reader 


• Has two GPls allowing automatic triggering of special effects generators, switchers or audio miners. 

■ Features auiomatic assemble and insert editing, audio insert editing, as well as previewfaview tor checking edits before and after edit- 
ing, and go to for direct access to any edii point A capstan bump function is provided to assure greater edit consistency 

• 8-dJffit LEO counter indicates all e<t;t data m either ihe TC or CTL mode, Swjtchahle between player and recorder. 

• Precise and responsive |og wheel makes it easy lo locate any frame and can also be used to enter and Irim edit points 


Circle #241 

: " ■■ ' 







OR FAX (24 hours): 



21 2-444-500 1 On the Web: http://www.bhphDtovidea.Don) 

In the past if you wanted to isolate selected objects in a video 
sequence for compositing with other video sequences you had two 
choices. Either you rented a studio and shot hired talent in front of 
a blue screen or you masked each individual frame by painting 
over the area that you wanted to protect or cut out. Now wouldn't 
it be great if there was a tool that automated the process for you— 
right from your desktop? 
Well stop dreaming, introducing... 


The World's Only Automated Video-Object Masking Tool 

AutaWasiccr h tfe world's only auiomaled software too 
far accurate- isolation of items and figures in a video dip. 
Using intelligent tools thai quickly mart the border of an 
object In a key Irame. AirtoMasker rjete™iries the exact 
border In subsequent frames eve^ wfi&n ite object Is 
murtt-cotored. changing lis geometry or moving over a 
colorful and dynamic background. 
Ushfl innovative hieak'ttrouflh technology, AutoMasker 
enables automated masking, isolation, painting, extract- 
ing and insertion of selected objects Into video streams 
al a fraction ol trio cost incurred using tfie conventional 
trame-fiy-lrame painting method. Selected objects can. be 
modified wfttiin AutoMasker or in combination with othar 
digital video specials effects or Ebrnposiling software 
AutoMasker Is very ttoxlbfe anQ woeks on just about any 
platform • SGI. Windows 95 and HT4.G. It works with 
standard filA formats Including' TGA. BMP. QuickTime 
ana AVI. The tools are powerful enough to work, accu- 
rately, even on lieids tor precise masking results. 
■ Gieatly Increases masking productivity 

* Automates masking ol video objects even when ihey are multi- 
colored,, changing their geometry end moving over colorful 
and dynamic cackgrouncfS- 

» Easy obj^cl selection in first frame and exact boundary tracing 
In subsequent frames 

* Easy modification to object border and controlled anlt-ai&smg 

* Independent automatic object and Background color effects 

* Simultaneous masking ol a number of objects and objects with 

■ Create mask or cotorerf output movie, including optional alpha 

■ Compatible with most file formats Including TGA, VDA, ICB, 

Results can be used w.ih most third-party applications. 


Post-Production System on a Single PCI Card 

Based on PinnacEe's EMMY award -winning special effects technology. GeniePJiis is a complete 

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SquiS-oed with an in.cred*le array of features m a sirsgls PCI csrd. EErleRus lets you create your 

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< Designed la make your -VB roll edriing eftoitless, the GeftiePEus 

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Alpha Wipes create visually stunning effects. 

* Over one hundred effects anrj transitions that can be customeed to 
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Yoj also have control over lighting and virtualfy all the controls can Be 
keyframed Create incredible moves and even use io have 
an object Irsck an element on your screen. 

* Ful spectrum chroma keying with amazing quality. GuiclJy choose the 
exact color you want to 'key -cut 

■ Add warp stupes, to the foreground image and delrver Bigh end quality 
ne/er before available at such a low price point. New warp shapes 
including hourglass, hgjeagrjn bailoon. diamond, octagon, and bumps. 

■ Need a glint to float across the screen or title? How about a spot light 
to enhance the scene? Maybe you need to darVen all but a certain pan 
of the screen to point out an rtement? Thev are all yours with trie new 
Manual Highlights controls. 


* Includes the same excellent paint program that ships with Pinnacles 

Wladin It works at Dl resolution (720 * -186) and comes with toots 

optimized for video graphics. Includes a de-flicker fitter and also tab 

you batch convert a sequence of graphics files Irom different formats 

and scale therm for video use. A pixel interpolation algorithm 

smoothes the enlarged pixels and an!i-aiiased lines without causing 

exDessrve blurring. 

■ Cursor Is invisible As a result, brush strokes look like animations, and 
may be used (nr example to Illustrate sports moves, show an itinerary 
over a map or illustrate weathn reports. 

* A :ext buffer lets you use te*t in a variety ol ways. Any font available to 
Windows can be used lor Paint, arid text may he scaled, rotated etc 
Effects like shadows and outl nes are easily applied and rhere are many 
options lor the color of trie text. 

Cfiirtctar Generator: 

■ Ger-e 3 ius cz-iz t.n:*i ,.;n inscusei CG.ine stan- 
dard for character generation. Inscriber supports multi- 
ple fonts (TrueType or PostScript), a great variety of 
text styles, geometric objects, various backgrounds, 
and different color combinations 

* Stytes include a combination of settings such as 
emboss, glow, shadow, outline, gradient, and trans- 

- Import regular ASCII text files. Adjust text to the screen 
with automatic homcniai and vertical centering tools 
Lints, can be automatically abutted, aligned to the nght 
or left, or placed anywhere on screen Logos can be 
imported and placed at will, ard backgrounds can be 
comprised of graphics tiles, solid colors, gradients or 
five video. 

* Variable speed rrjjfe anrj trawli are possible. The pages 
ars set in Inscriber, aid EenlePlus handles the smooth 
motion. CG pages can b* used directly from Inscriber 
or saved to be used by the DVE Foreign language spe- 
cial characters are also available. 

Other Features: 

* Compatible with Windows 35' and Windows NT 4.0. 
' Incudes GPI control lor integration! with stand-alone 

editors. And smce most PC-based editing systems 
offer a direct interface to seamlessly control GeniePlus. 
you'll can focus on your prnductiaji. instead ol your 


* Has connections for six video inputs— ihree composite 
and three S-Video —two of wnich may Be switched at 
a time. (Accepts NTSC or PAL Signals) 5-Video and 
composite sources can Be mixed- There is also an 
external sync input wffti irjopihrough. The board 
prctesses video in true broadcast quality, confgiming 
£0 CCIR 601 standards 


INCLUDES: ■ Pentium 133 MHz CPU • 220 Watt 6-Bay Midtower Case ■ 3.5" Floppy Drive ■ 32 MB RAM 

• 256K Cache RAM ■ Diamond StealthH 2MB 32-bit VGA Display Card ■ Seagate Medalist 2.5 GB IDE Hard Drive 

• Creative Ubs Soundblaster 16 Audio Gard * Altec Lansing ACS-51 Amplified Computer Speaker System 

• Teac 8X-Speed Internal EIDE CD-ROM Drive • Focus 2001A Keyboard • Logitech 2-button Mouse • Windows 95 

« Princeton EQI5 Hlrjb Resolution 1 5-inch Monitor plus— card and atom* Installed. ST495 .DO 

# Truevision 

TARGA1 000/2000 

PCt Video Capture Boards for Windows and Macintosh 

The TARGA tOOOand SfJOOare an easy and atlordatle way Id transform your computer into 
3 powerful digital editing system. Along with thei? h^ri-speed PCi interlace, both the 
TARGA 1QOQ/2M0 incorporate all you need to creale spectacular multimedia anient They 
support NTSC and PAL sandards and letyoucaptu-e. edrUmJ play&ae* Ij'mt-: in \-y.\- 
resofution digttal video win fully synchronized CD-qjality audio DrtiQWl for h*gh perlor- 
manoe PCs they deliver incredible processing speed lar video and audio effects titling and 

TARGA 100QV2000 PCI 'or Mac prowides a Hawbla "plug-and-play" solutior for video 
authoring. 3D animation and multimedia applications. Work on animation projects with 
software like Strata Studio Pro or Specular Intinrh-D and video or CD-ROM authoring with 
Adobe Premiere and Arte' Effects 3.0. 

Advanced PVR (Digital Video Recording) Technology: 

The TARGA 1000/2000 emfjtoy advanced DVft technology Io 
deliver superior video performance. Unlike? other systems that 
treat each frame ol video as a block of data lied to a specific 
order of sleps such as decompression-resi:e -compress-write to 
disk. DVR writes an entire Irame of uncompressed udeo to the 
huge on-board 2Q MB FLAM butter of Ihe TARGA 2000 (8 M8 
RAM buffer of the 1000. 

This is a "memory-re ntri;" approach, in which all scard lunctions 
share access to the video butler. For example, a DSP sig- 
nal processing! chip can scan for additional data, such as match- 
ing audio samples io video J ram as to help maintain lip sync 
Transitions, fillers, effects, and/or resizing can also te applied 

while the uncompressed frame is In TARGA memory The Una] 
output is then compressed and written to disi; Video data only 
crosses me bus twice -Both times in compressed form. On other 
■systems, the video data path is longer and more complicated. 
Video crosses the bus-twee uncompressed and twice com- 

The DVR architecture carr access information in its memory butler 
al a speed ol 230MB per second Video runs only at 2 to 7 M8 
per second, so the TARGA boards -lave all the time needed to 
decide what to do with each frame And .because uncompressed 
dala Is never sent acro$$ the bus. bottlenecks that plague other 
systems are eliminated. 

TARGA 1000/2000 Features: 

■ Record anQ playback video direclly to/from hard drive at 50 
lieids/sec -PAL, 60 hetds/sec-NTSC Video is stored and 
played back at ihe Ngnesl resolution for eath formal (76fi x 
576 -PAL, 640 x 430 -FJTSC). Compression can be adjusted 
on the Hy to Optimize for Image quality and/or minimum stor- 
age space. 

1 Audio is digged at At I KHz or 48KH; sampling rates, foi 
professional quality stereo sound Since all audio and video 
processing is done by on-board fJSPs. you are assured ol 
perfectly synchronized sound and images. 

• Equipped with composite and S- video inputs/outputs. Also avail- 
able witri component input/output (TARGA 10DO PRO) 

• Genlock using separate sync input for worting in 
professional video suites 

* Optimized to work with Winsows NT-based software [Adobe 
Premiere 4.?, in sync Speed-Razor MACH III) 

Mftcltitoth wurilon only: 

* Video capture plug-in tor Adobe PhoiKhop 

■ Quicklime 2 1 compatible, can be used direclly out of Ihe box 
with many .ipplirjlloris, 

TARGA 2000 Additional Features: 

• Accelerated Window 3.11 and Windcws HI 4.0 display drivers 
after integrated true-estoi (24-hit|, non-interlaced desktop up to 
1152 * 870pii!Els. 

■ Viaw your desktop and vitfeo-ln-a-winrtDW on your non-inter- 
laced monitor while toe processed video is output at NTSC or 
PAL to a video monitor and'or a VCft 

» Provices a large work area tor displaying video, as well as edit- 
ing apolioalion controls Any part ol the display lot ewer the 
wnole imags) can be recorded to tape (video-out-ot-a-window). 

• Equipped wiin composite and S-video inputs/outputs Also avail- 
able witn component input/output ITAPGA ?0M PPO) 

TARGA 1000 lor Windows or Macintosh PCI (specify] 1499.00 

TARGA 1000 Pao (Componiint inout/oulpul) tor Windows or Macintosh PCI (specify) 1799.00 

TARGA JOOO lor Windows or Macintosh PCI ispecity) 2899.00 

TARGA 2000 PflO (Component mpul/outtjul) tor Window or Macintosh PCI lsp;c ';: 32W.IW 

TARGA and DPS Windows NT Turnkey Syslems: 

• 220-watt. S-oay midtower case 

• PCI motherboard with 512K pipelined burst cache 

• Pentium 106 MHz processor 

• Diamond stealth 3D 3400XL1 4M8 VRAM PCI display card 
(Systems with imsync Speed-Raior MACH 3.5 receive a 
9fX Molion 771 4MB VRAM PCI display card). 

• 32MB of EDO (Emended Dara Out) BAM (Premiere systems only) 

• S4MB ol EDO RAM (Speed Razor systems only) 

• Quantum Fireball 2.5GB IDE system drive 

• Seagate (Barracuda) J 2GB SCSI- 3 Ultra Wide hard drive 

• Adaptec AHA-2940UW Ultra Wide SCSI-3 controller card 

• MediaTRIX AudioTRIX Pro DSP-equipped IB-bit audio card (lor DPS 
Perception systems only} 

• Teac CD-512e 12X EIDE Internal CD-ROM drive • 3.5" floppy drive 

• Altec-Lansing 300.1 three-piece delude speaker system 

• Princeton Ultra 174 high resolution 17-inch multiscan monitor 

• Focus 2001A keyboard • Microsoft MS mouse • Windows NT 4.0 operating system software 

TARGA laOO/AflObB Prtmleni 4.2 ...S5995 TAHGAZI10G'' Adobe Premiere 4.2 

TARGA 1000 PRO/ Adobe Premiere 4.2 S6295 TARGA 2000 PRO/ Adobe Premiere 4,2 .. 


PVR-2500/AD-2500 w/Adobe Premiere 4.2 (6995 •PVn-25(JO/AD-2500w/ln:iyncSpeed-Ra!dr 57995 

PVR-2500 Syslem Notes: 1) Does not include Adaptec SCSI-2 controller card (has tjuilt-in SCSI-2 port) 

2) Includes Seagate Barracuda 4.2GB Narrow hard drive (doesn't accept Wide drives) 

hfaulMS mi (/jttyaeUB lor ill Systems: 

Full Towet Case (10-bay) add 1M.IKJ Super TowarCase (12-oay) add 200.00 

Pentium Pro 200 mil processor (2S6K cacbe ) and Pro rnottierboarrj add 750.00 With 51 2K cache add 1200.10 

Dual 'Pentium Pro 200 MKi processor (256K cache each) and dual Pro motherboard add 

Seagate Barracuda 9.1G6 Ultra Narrow (lor DPSI add B0TJ.M Seagate Barracuda 9.1GB Ultra Wide drive add 9UO.O0 


With Sin Jl « SCSI] Ulln-Ulldi m Hint Drivts, Adaple: s ,ngn Dual Channel SCSI Card. Ertirnal Cisi. Cibli! and Tirrnmilai] 

84GB Raid Array (Single channel mlh two 4.2GB Ultra-Wide Drives) 2995.00 

1B.2GB Raid Array (Single channel with two 9.1GB Ultra-Wide Drives) - 4995.00 

8.4GB Raid Array (Dual channel with two 4.2 GB Ultra-Wide Drives— one drive per channel) 3295.00 

IB. 2GB Raid Array (Dual channel Willi two 9.1G3 Ultra-Wide Drives— one drive per channel) 5295.00 

16.8GB Raid Array (Dual channel trim tour 4.2 Ullra-Wide Drives— two dnves per channel) 5695.00 

J i ff II H i I . | "I I' .I I 1J WWII I H! iMr ' . I WWl WIHr' l 

:0c tor each additional Ih. For ins. add 40C tier $100. O 1997 Bail Photo - Video. Prices are valid subject Io suppliet prices. Not responsible tor typographical errors. 

VIDEO and PRO AUDIO gj 9 ES 9 


800 221 -5743 • 212 807-7479 


800 947-2215-212 366-3738 

1 1 9 WEST 1 7TH STREET, NEW YORK, N.Y. 1 0011 

Store & Mall Order Hours: 
Sun 104:45 • Mon & Tues 9-6 • WerJ & Thurs 9-7:1 5 • Fri 9-2 • Sat Closed 





PVR-2500 'Perception 9 



Digital Video Recorder 

The Heart of an Advanced 
Digital Audio/Video Workstation 

The PVR-2500 offers powertul features lor awesome animation, morphmg ana 
rotoscopinrj capabilities With features like 720 x AS0 resolution,. lQ-b<t 2x over- 
sampled video encoding, better man 01 scaling, component and 5-Video out- 
puts, mm hi- processor support and integrated FAST SCSI-2 urtntu, n empow^ 
efs your computer to rival ihe lines! professional producUDn studios 

* Tie PVFt-2500 is a tuli-lengti PCt card with a FAST SCSI-2 con- 
trailer. Because ihe SCSI comroller is integrated with the PvFl- 
2500. video data never has Id go over Ihe PCI bus during play- 
tuck This avoids ihe bottlenecks found m systems wtddi use 
fte computers hard diivc fo - video storage 

- Perception gets animations, out of your computer fast lis into- 
swe multi-format virtual file system ensures complete integration 
w>lb /our appkutiofl Any «<ji/lred "deo or computer generated 
Perception video dtps appear simu'taneously m many different 
lite formal* inckxJmg TARGA, SGI BMP and Iff Perception is 
compatible with Lightwave 3D. Scttimage. 
30 Studio MAX and otters. PIjs every PVR-2500 now comes 
bunded with DPS Lockstep software to provide ssgnrf icant con- 
tra over 3D Studio MAX 

■ 10-t>r| 2i Oversampied encoding for 720 * 490 broadcast quality 
resolution Dynamic range is in e«cess of 01 scaling so images 
are bnghler. have more color and greater spatial resolution than 
ei£! before Component, composite and 5-Video oulputs are 
picr/idcrJ via the included bieakout cables 

AD-2500 Component Video Capture Card 
Coupled with the AD-2600 live video capture daughter card, the 
PVR-25D0. becomes a broartcasi- equality digital disk recorder It deliv- 
ers unsurpassed picturequalityand storage capacity is liirited only 
by Ihe size.'number of attached SCSI hard drives. 

■ Has component, composite and S-Vrdeo inputs lor real-time 
recording Captured video can also be exported as sequential 
RGB tiles tor roiosCopmg and other compositing applications 

* Sophisticate!! automatic entropy prediction circuit analyies the 
content of incoming video and dynamically calculates the opti- 
mum amount of compression on a lie Id -by- held basis— even 
during real-lime recording;. You also have complete manual con- 
trol over compression level/qua I ity settings. 

FX-2500 Perception Ellecls Accelerator 
The FX-2500 significantly (educes trie time required lo render corn- 
pie* non-linear transitions Although it doesn't deliver real-time 
transitions, it significantly improves the productivity of non-linear 
editing syslEms by dramatically speeding up the rendering time Iqi 
many elfects and transitions. 

* Win a stand-alone PVR-2500a 30 dame dissolve can take minutes 
to rends*, evert with the fastest PC. Because the host CPU processes 
source frames on a nuel-by-pxel basis The F/X 250Q recuces Ihe 
waiting to time lo under 10 seconds 

* Runs under Windows HT40 on computers with Pentium, DEC 
Alpha or MPS processors. Perception utilizes NTs native sup- 
port for rniititasltirrg and multiple processors, allowing use with 
the mosi powerful computers. 

■ Perception performs real-time interpolation of 3G Irjs video to 
24 tps him rates 01 wca versa Tins means that i\ is also at 
home on the Hollywood movie set as well. 

* VCR-like controls on the Perception's GUI simplifies the task of 
batch fligrtuing and recording. In this mode, Ihe PVR-2503 can 
read SMPTE time code trom the source deck. 

* Can be used will any Winnows NT compatible sound card while 
synchronization of audio and video is maintained by the PVR 

■ Can be usefl win furo psrty edit ng sotware such as AdcSe 
Premier or uisync Speed Razor MACH II I. In fact a system 
equipped wth the PVR-2500, AD-2500 capture card, a sound 
card, editing software & one or more SCSI drrves becomes a non- 
linear editor of unparalled performance - at an un&eaUhte price 

DAR-2500 Digital A4V Recorder 
Featuring- comprehensive audio posi-production capabilities, the 
A4V (Audio fer Video) board provides perfect video/audio synchro- 
nization when used with the PVR-2500. A fuli-fength PCI card, ihe 
AJVs jnpul and output connections are made via the supplied 
breakout tab'es while digital audio is stored on the system hard 
drive. And tc ensure compatibility with third-party audio editing 
Software, it ptays and records standard uncompressed WAV files. It 
can also be controlled directly by vitfeo editing software Tike 
in:syncs Spesfl Razor Mach -3-5. 

■ Simultaneous record/playback Play up lo three stereo tracks 
while recording one stereo hack. 

■ Mix lour stereo source tracks down to two output channels In 
real lime 

»True audio scrub. 

* Four-band Parametric EQ lor each channel (assignable by stereo 

* Real-lime reverb and compressor/li miter Additional effects can 
he easily adled via software upgrades 

* Built-in LTCj VITC time code generator; reader/inserter lets you 
create window d ! ubs with time code information superimposed 
over composite or Svifleo signals 

■ Unlimited audio editing capafiilities with third party software. 


MACH 3.5 

Digital Video Editor for Windows NT 

The ultimate digital video ed.t ng software. Speed-Razor MACH 3 5 edits full screen. 60 fields per second, CCIR 601 broadcasr- 
qua'ify video. Designed lor the DPS PVR-2500 and Truevision's TARGA series udto capture cards. Speed-Razor MACH 3.5 <s the 
fastest and most powerful loci foi editing am) composi'mg v>deD clips, animations stills, music and sound effects 

Speed-Razor features infinite video audio, transition and effects, 
tracks and comes wth Razor Blades— transitions and effects to 
enhance your production There are preset tumbles, fades and 
wipes which you can easily customize arts Sim: is new presets 
In additton. there are special image effects which are unquestion- 
ably the highest quality ol any system— analog or digitaJ. Speed- 
Razor sports ann-altasefl 30 OVEs. an infinite channel chroma 
keyer and an excellent character generator Use the intruded 
effects or transitions, layer then to create new ones, make your 
Own grayscale brtmaps to use is transitions, or use 3rd party 
plug-in effects— the flexibility is yours 

There are two user dehnaole resolution modes (thumpnail and 
final) to facilitate editing The thumbnail mode allows you to use 
Speed Razor h the held on a laptop then transfer the project fie 
hack at the edit surte anrj automatically recapture and re-render 
the entire protect at final resotuwn. 
RS-422 corn-on and batch capture module aSowyou to automate 
video capture ra SWPTE time code, so dtgrtizino video smf audfo 
is simpfe and painless, in fact, with the innovative "Virtual 
Editing" function you can actually edit your project, complete 
with effects ard transitions— before youVe digitized a single 
frame of v«f*o. 


■ inf fine number ol layers ot video clips, still and aninwwns can 
be composited together 

* Handles any resolution horn eetacam (720 X 4B0) up to 
On-nimax flint (4000 X 4CW)| 

» Video clips can be combined using an alpha channel, key color 
transparency, still or trailing manes 

■ Reads anrf ■writes ANI files (created by DPS' PAR), PVD tiles 
(Perception). OVM liles {TARGA 1000 and 2000) ind seqaerices 
of TARGA tiles 

* Convert teles between any □! the following formats ANI PVD 

■ Prcject- based Library for orgaiuino your work 

• Handles audio up to DAT (48 kHz) quality 

• infinite number ol audio tracks lor multi-layer audio mixing 


■ Blur (circular, gaussian. last) tint, flnghiness adjustment, chro- 
ma key, crop, displacement, emboss, freezer frame, glass tes- 
lure. greyscaie. invert, loop, mane, pixeate, repeat fields, scale. 
transparency, strobe, turn recVgrefiarttlue 

• 3D DVE (trarstates and/or rotates an image in three dimensions 
on the X, ¥ and 2 axis) 

■ Sets a color channel to an assignable value) 

• lilies (lull blown CG using any Windows font in any color with 
automatic drop shadow) 

» Sub-pixel rgrdermg for incredibly smooth motion 

■ Ellects can h* aopt^ed fo infinite sources 

■ Ind ud es ovei 100 grayscale image Iransitjons. crossfades, lumi- 
nance fades, lade to/from black, fade to.fram white, push, twirl, 
twist iri'out tumbles, flip. turn, scale (zoom) 

■Transitions can be applied between infirtte inputs 

ln:sync Speed Razor MACH 3.5 lor DPS PVB-25Q0 and Truevision TARGA Series CALL I 


Hi LlidftflZMf fl 5 n 

The Ultimate 3D Rendering & Animation System for Broadcast Graphics 

A new release of the all-in-one photo -realistic ammaHon system that has been used in seaQuest DSV. 
3abyion 5. Hercules. Star Trek: Trie Next Generation and Voyager. Lightwave 3D version 5.0 allows 
you to view solid objects and lighting effects interactively as animation is created through the imple- 
mentation of OpenGL 

•Lightwave 3D 5 is also the only product to break the poly- 
gone-spline barrier with the introduction ol MeiaNURBS 
MeM'tURSS s^rfaiin^ real time Iran^fcimations between poly 
gems and spines enhancing your abilrty to create organic 3D 
oc tdi - is , MetaN IRBS ■'- 1 - ItoelK -"-'i ■■■■ , Mfla 
strengths of both techniques making it easier thai ever to create 
stunning 3D models. 

: Available^ 
for Mac 

•Another new modeling feature is MetaBalls, which utilizes 
spheres to quickly approumaie compiei shapes MeiaBatis auto- 
matically generates a skrn based upon that approximation, trans- 
form ng it into a complex 3D model 

•Lightwave 30 5 includes over 100 new features that enhance 
your ability to create visual ettetts for television, corporate 
entertainment and personal 3D anmahcr 

Boris Effects 2.1 

3D Plug-in for Adobe Premier and Media 100 

A software- based mulri-channel DVE (Digital Video Effecrsi rjenerator complete with mlraframe interpola- 
tion, mane manipulation, and multiple kcytram's, Sons Elfects allows you la create your own custom 
moves ard-fjs . ■ ■■■• rfiem h>i ..■.-■ ,■.."■ dilfi rent . deo source ( (M StUA H pklflh* MtMtKttfni Boris 
is dosei-y integrated with your video editing software Once installed in your system, it appears m the tran- 
sition list II is not a background application and no extra memory is required Boris makes rt easy 1 to cre- 
ate 3D ftying log> effects horn PICT files using an embedded iipha channel. Other lealures include borders 
and drop shadows which can be colorized and made sofl and translucent, control over camera posrtion 
and light source with specular highlights 

■ Mutfi-processoi acceleration • Enlarged preview window. 

■ Blur and bevel filters. * Unlimited video and graphics tracks 

■ Full control ol image stale (size), positioning, depth, opacity. 

■ 3D eflects with depih control to create cubes or slabs with up lo 
6 different videos, PlCTs or colors on each of the 6 faces 

4 Cropping with full sohness control of the codes and blend for 

really smooth soft wipe-type of effects. 
■ Sub-pixel interpolation, held rendering and anti-aliasing lor 

smooth, clean effects - Variable pivot points for unique rotation 


O Crystal 


• Tent fool loads any ol Ihe 12 included outline fonts or loads any 
Postscript Type 1 Ion! 

• Integrated polyojon test - lines, arcs & splines in 1 operation 

• Imports Illustrator 8B "Al" and EPS" files produced by Adobe 
Illustrator. CorelDRAW or other drawing packages. 

• Predefined bevels lor lasl creation ol complex designs. Also 
predelmed grid snap far precise model building and editing 


• Spotlights W ith intuitive pointing tools tor dramalfc lighting 
■ Highlights, phong shading, metaltics and transparency. 

• Piece-lined materials irdirde glass, stone, plasiic chrome 4 gold. 

• Texlure and reflection mapping 

• Pender EPS, TIFF and TGA high resolution (up to BK x BK] slills 

• Import 2D still images (TIFF. TGA, BMP, PCX and GIF) 


for Windows 

The easiest and most affordable way to create pro- 
fessional still and animated 3D titles and logos (or 
video and multimedia presentations:, 


• Hundreds of predelined animation paths including bounces, 
arcs, orbits, spirals, spins, zooms and bounces 

■ Batch Rendering allows multiple models aid/or animations to be 
rendered unattended. 

• Adding smooth animated motion is an easy one-step process 

• Compound motion support [e.g. letters may spin while word flies in| 
•Fly-ins and fly-outs 

■ Most ammaticns render m 30 rnmules or less 

■ Outprjls digital video FLCs and Wis (Video for Windows) 

■ Also oulputs images frame by frame at a variety of resolutions, 
bit depths and formats Supports field rendering for even greater 
5 mo airiness tn animated motion 

• Superbhtk provides support foi luminance and chroma kevmg 

• NTSC and PAL color correction ensures legal" video outpul 

Flylnp Fonts Pro 3.0 Windows •- ,99.95 

Qaystaicraphics Crystal Kaleidoscope" 

3D Animation Dream Suite for PC—Includes ait products fisted below 
TOPAS Professional 5.1 

A fully integrated. 3D modelmg, rendering, and animation package. TOPAS Pro 51 Includes broadcast oriented features Such as rOlo- 
scopmg, WTSC/PAL color correction and single frame output to professional VCRs It also provides cuttmg-edge capabilities like unlimit- 
ed network rendering, an automatic background perspective tool, and retractmn mapping This eidremely easy to use software has been 
used to create Television commercials for products such as M&Ms*. Certs'. McDonald V. and TV openings for H80 


• Integrated 20 and 3D modeling workspace 

• integrated pofygon tool draws lines, arcs and splines 

• Full color Background can be visible for reference at all limes 

• Match Perspective: easily align models to background image 


■ Supports up to 256 lenture maps per object 

• Texture Quality controts filtering, precision and more 

• Canirol over color map layering with Color Map Priorities root 

■ Helrachon mapping ray iraces tfie msides Ol spec-lied Iranspar 
ent obiects to produce realistic retraction effects quickly 

Also ia chides: 

- Fractal Design Painter • Hal's Power Tools 2.0 SE All for onlV 

• Erastic Reality T .01 • leadview 3.0 * Lots of Cool Clip-Art 

Realistic metaihcs via a special snarling algorithm 
Light s brightness can fall off with distance at definable rates 
Spottghts definable using professicnal lighting diagrams 

All objects altitudes - shape, color, leriure. shimness. rough- 
ness ind transparency - are fully anrmatabfe 
Records alpha and RGB channels to tape separately 
BuM- n t eld accurate rotoscOping wilh looping of RGB channels 
and alpha channels from tape to disk 
VTR-to-Disk option dignties video sequent*) from tape 

electronics StudioCard 

4-Channel Digital Audio Card for Windows 

The netf generation in digital audio for the desktop. StudioCard is a premium-quality digital audio adapter with advanced fea- 
tures, stu ftd -quality specs .and professorial connections. Unmatched in quality, flexibility and expandability, it features 4 tracks 
of audio sound and real-time d igital mining eapzbility.makingi it the ideal Doard for musicians, who want digital multiLracking 
and mixing on their PC or producers looking fo' a versatile board (or post-production digital audi: editing and uncompro- 
mised audio quality. SluflioCard is Windows 95' plug and play compatible plus includes drivers fn: Windows IVT as well 
Key to SludioCard s amajmg sound is Ihe marriage of a fow * Compatible with film, video or MIDI StudioCatd offers syn- 

noise analog I/O seeli?n and hirjh quality A/D and DM con- 
verters. A PCI-based 32-ttst memory mapped b&afd, it deliv- 
ers less than 0.003% total harmonic distortion and 92dB 
dynamic range Pfus. a PLL-based sample clock generator 
Ittat can be locked to an assortment of clock sources. 
1 Incorporates a programmable 32-bit 40 MHe QSP and pro 
connections like A independent balanced analog l/Os 
HdBu or -10 dBV) and AES'EFJU or S/PDIF digital I/O. It 
also offers a MIDI port wilh deep buffers and time stamp- 
ing No matter which type ol equipment you have 
StudioCard wiJI integrate into standard studio environments. 

chronizalion via SMPTE. MTC. word and pixel clocks, and 
composite video Plus, the StLdioCard not only reads 
SMPTE limecode. but generate^ n as well. 

• Unique to the Ante* design is StudioCard s multiple adapter 
capability. This means you can install multiple StudiDCards 
in a single computer for up to 16-track recording. Start 
with one SludioCard loday - add more StudioGards tomor- 
row. Also included is an on-board SPx expansion connector 
for plugging in optional daughiercards lor compression or 
enhanced DSP operations 


Circle #242 


L . ■ JLJ-* " * ' 

" 1 • 


Call for a FREE catalog or 
viiit ui of 


You iBIFI r e c t ?ftaa c e fob Digital Video, 3 D / A n i m a i i o m and Advanced Graphic si 


NewTek Video Toaster 
& Video Flyer! Cull (or details! 

umWAVi ad 




Perception kV^tr^uKi PCI 

A favorite among DV Pros, 
this- package boasts true 
broadcast quality, fill screen 
full motion video recording, 
crystal dear S-VMeo output 
and 720*480 resolution. 

Perception DPS '1 649" 

Perception wi Capture Card Bundle 'CALL 

Live Video Capture Cord ! 879" 

FX2S00 - ! 879" 

aw - "1249" 

SD2500 Jfeti. 'CALL 

The professionals choke 
for 3D and animation. 

Just some of the places that 
LightWave 3D con be seen in oction 

• The X Files 

' Dark Skies 

■ Xena, Warrior Princess 

• Courage Under Fire 

■ Mars M&Ms 

• The Simpsons 

• Stor Trek 

• Unsolved Mysteries 

• Golden Eye 

Now available for Intel, 
PowerMac, DEC Alpha 
and Amiga 

L J 5HT ^ i t i 






all versions 


Bfevins Enterprises Thus LighiWave 3D plug-m creates electrical 

eilects in the Modeler and Layout portions of Lightwave 3D- Whether 
you want to spice up your logos, or produce realistic nalural effects, 
VertiLectnc has a place in your graphics toolbox! 


Surfcxe Effectors 1.1 

Prem Subrahrnrjnyrjm This 32-bit LightWave plug-in allows you to 
create objects in a scene whose attributes afiect the surfaces of near- 
by objects. Surface effectors can quickly and easily cnange the sur- 
lace artnbules of objects over time without having In resort to compter 
morphmg or image sequencing. 

s 79" 

Metro G rafi oo 


Digital Art Brush 

This LighiWave renoerar piug-m 
ray paints objects with user defin- 
able brushes. Includes convolution 
filter for post-processing 


Wobbler is a spring and 
mass simiiatof that creates realistic 
wobbles in your models. 


use impact to add motion 
physics and gravity to LightWave 
3D files and objects! 

>31 9" 

urease stunning parucie 
animation effects with just 
a tew simple steps 

s 259" 

Loik & Key 
A motion plug-in for the 
Lightwave layout. Excellent 
aid for character animation. 

s 169" 



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Aver 239.95 

Aver Pro CALL 

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Iomega Zip Cartridges (3pkl 49.95 

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3-1/2 & 5-1/4 HD Cases 89.95 

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fire GL 1000 CALL 

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Poser 2.0 ...„ 129.95 

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lightwave 3D 5.5 CALL 

lightwave 3D 5.0 1024.95 

Lightwave 3D Upgrades CALL 

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Lightwave Power G u ide 39.95 

Plug-Ins & Add-Ons 

logo Wizard 199.95 

Macro Form Intel 239.95 

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Surface Effects 89.95 

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Alpha/PowerMac versions available, 
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Surface Pro CD 68.95 

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Accuris lightwave Transistor 28.95 

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Interior Design CD 134.95 

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Processing Systems 


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Circle #244 





/ I 

1. LightWave 101 

Don Ballance of NewTek covers 
the basics of Modeler and Layout 

for the beginning animator, as well as 

subtleties that may elude even the more 

experienced user. 10am - 11am 


2. 3D for 3D 

Learn how to create true 3D 

■—i — 

effects that jump off the screen. ^^ 

Jason Goodman of MSD will discuss 

3D stereoscopic techniques and show how 

they can be applied in LightWave. 


11:15am - 12 noon 

FREE* (with full day registration) 

3. Mysteries of LightWave Revealed 

Brad Peebler of NewTek hosts a QS.A 
session on the hidden features and 

New York lEJST 

4. Hollywood Effects 


Lee S. Ken Stranahan return with an 
advanced seminar focusing on the 
secrets behind the effects in TV's 

Sliders, and countless other 
shows. You must not miss this! 
2:45pm - 4:15pm 

5. Advanced Character 
Animation Doug Kelly, author of 

LightWave 3D 5 FX, will discuss some 

of Lightwave's most powerful features , 

as he applies them to the time honored i 

process of realistic character animation. '* 


4:30pm - B:00pm 

secrets of LightWave. Come prepared 

to stump the expert with your most 
challenging modeling and animation problems 
1pm - 2:30pm 


Register before April 30 to take advantage 

of these discounted rates. * Register for 

Mysteries of LightWave, Hollywood Effects, 

and Character Animation, to qualify to win 

LightWave 3D 5.0 for Intel or Power Mac, 

plus get free admission to 3D for 3D! 

A full day of LightWave seminars and Free exhibits featuring the hottest 

3D hardware and software! 

Saturday May 10, 1997 10am-Bpm 

780 Third Ave New York City 

for more information 

(S1S) 979-831Q 
htt p ://www. msd-nyc . com 


S ! U D 1 O 5 


1 1 1 23 SE 20Bth Slreet • Kent, WA 98031 
(20S) BS2-1074 • Fax (206) B52-4729 



a Toaster dealer who knows what he's 

lis' h tl Over 21 years in broadcast video & audio 

talKing auOUl ! industry (in-house production lacility) 

Specializing in: 

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Video Toasler 
VidBO Flyer 
Genie Plus 
Amiga Dealer 
MAC & PC dealer 
Training Tapes 
Audio & Video Dubs 
Blank Tape & Supplies 

Pot i SUo. o^ MANNA «S> pm» gttvtcJl 




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Circle #221 




(619) 589-9455 


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The Lively 

8314 ParkwayDr., 
La Mesa, CA 

Hardware & Software: 

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products SUPRA 
Modems. LAN and 
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Circle #222 


for Commercials and Narratives. 

45 of the country's best voices are 
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Audio delivered on DAT or 

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totting fa *Rttfcw#)/ 

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Circle #223 


Video logy, Inc. 

Serving_thjiptofcss ianal_vjdec_and . 


Sales, service and support for: 

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a i 

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New and Used 

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Free video accessory 

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Call or Fax us with your list of 

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Providing Broadcast Quality 
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Circle #227 


The must-read 


for I 


3D and Video 

Toaster/ Flyer users 

and dealers 

is now offering new 

subscribers an opportunity 

to create PC compatible 

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and typefaces on CD-ROM. 

Sign up to receive NewTekniques 
now and get this exciting 
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paid subscription. 

Fill out the subscription card 
in this issue, or call 
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Atlanta, Georgia 

= Wl=K 

\nsio tiiniod I A tm 

Non-Linear Workstations 

ACS Computer & Video specializes in 
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Circle #228 


IS. Computers 
& Video 


11300 Hartland Street North Hollywood CA 91605 



flYer ■ 

T.S. Computers has been 
addressing the needs of video 
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over fifteen years. We are a full- 
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to providing you with the tools 
you need to get the job done! 



Circle #223 

Learn the Fastest 

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Check out our 

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999 E. 

[1JI1IP3JIP1 371-4500 

animation training www 

Circle #230 

Say you saw it in 


The must-read publication for 

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Circle #233 



• one and two-day classes 

• taught by industry pros 
beginning and intermediate 
limited class sizes (advance 

registration required) 
■ group discounts available 

Call lor informations dates 
Computer Video Associates 

Pinellas Park (Tampa). FL 

Circle #234 


in the 



For rates 
and information, 
call Annette Schnur 

ewTeh Expo'9 



Broadcast and 
Video Produ 


his 4-day event features 

world class creative tools 

and the latest innovations 

i the areas of digital video pro- 

' " 1, 3D animation and special 

show hi 

The Exhibit Hall will feature 40 
; showcasing the leading 
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Special networking events 

i you can meet key players, 
; and other NewTek 
I users who are just as 
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you are. 

• Technology Forum where live 
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allow you to try out the latest 

products and software solutions. 

Nov/s the time to make your 
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If you would like to participate as 
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or 714-51 3-8656 or fax 7 14-5 13- 
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Special Effects 

3D Graphics and 


Game Developmen 



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B&H Photo-video 

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Carrera Computers Inc 

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Computer Video Associates 

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Desktop Images 

Digital Equipment Corp. 

Digital Video Direct 

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Dynamic Realities 

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Immersion Corp., 

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Intergraph Corp. 

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Media Quest Studios 

MegageM Digital Media 

Multimedia Design 

Music Bakery. The 

Nova Design. Inc + 

Oregon Research 





Safeharbor Computers 

Showcase, Inc. 

Surface Effectors 

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PAGE -t 



























































































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Apnl 1997 NtwTwmatics 79 


The Special Edition 

Just a few days ago I stood in a crowded line for over four hours 
at Mann's Chinese Theater in Hollywood. There is nothing 
unusual about this, since my friends and I regularly enjoy seeing 
the latest blockbuster on opening night at the most famous movie 
house in the world. Sure, getting advance tickets is a hassle and even 
then you have to stand in line for hours to make sure you get a good 
seat, but it's worth it. 

Among the opening night 
crowd there is an unmistakable 
signature of energy. They all know 
they could have seen it a few days 
later at a local theater thus avoid- 
ing the hubbub, but they want to 
be the first to see this movie. They 
want to yell and scream and 
cheer and bond with then fellow 
movie maniacs. 

However, this time was a little 

This time, the audience was at 
such a fever pitch that they made 
a Super Bowl crowd look like a 
bunch of tennis spectators. 

This time it was STAR WARSl 

Tickets for every showing of 
the Special Edition had sold out 
two weeks in advance. People 
were lining up five hours before 
show time. There were not just a 
few, but rather dozens of people 
in costume, dressed as everyone 
from Luke Sky walker to Boba Fett 
(there was even a brigade of men 

parading around as Princess 
Leia). Every time an usher would 
open the front door to simply 
check on the crowd, people would 
scream in anticipation of being 
let into the theater. When they 
finally did take back the ropes, 
people rushed into the theater as 
if there was free money inside. 

Star Wars has become much 
more than simply a billion-dollar 
franchise ft has turned into a 
genre of its own, transcending the 
boundaries of even science fic- 
tion. People who do not even like 
science fiction love Star Wars. 
Many of the people in that audi- 
ence on opening night were clear- 
ly not the typical science fiction 
fans you would expect to see. I'm 
sure many of them have never 
braved the opening night crowds, 
but this was Star Wars, dammit! 

It became clear that this was 
more than just an excited movie 
crowd — this was a family. Without 


A sense oF family in 
Star Wars universe.. 


even realizing it, each one of those 
people bought much more than a 
movie ticket. They bought a pass 
to a huge family reunion. After all, 
what is a family? Most of the ones 
I know consist of many people who 
are completely different. Some are 
adults, some are kids, some suc- 
cessful, some not, some nice, and 
some nasty. They all share one 
common bond, however: they're a 
family. Despite all their differences 
and the fact that they would ordi- 
narily never congregate with one 
another, the fact that they're a 
family brings them together and 
forms their common ground. Lord 
knows, if it were not for the fact 
that we are a family I don't think I 
would be caught dead cavorting 
with a lot of my relatives. 

The common ground for my 
other family, however, is Star 
Wars. That premiere a few days 
ago reminded me just how much I 
missed that 'family' feeling. The 
last time I experienced it was for 
the original opening of Return of 
the Jedi almost 15 years ago! 
Without these movies, this family 
has no focus and no reason to get 
together. That's why I'm ecstatic 
that a whole slew of family 
reunions is already planned, 
starting in two weeks (as of this 

writing) with The Empire Strikes 
Back and reaching into the next 
century with the new trilogy. 

Another family I'm proud to be a 
part of is the one that you belong 
to. That's right, you, the one hold- 
ing this new magazine. For a while 
there it started to look a little dark 
for the Toaster and LightWave 
community. Without VTU, we lost 
our focal point and gathering 
place, which is why we should all 
be damn happy that we have 
NcwTekniques. Sure, it may just be 
a magazine, but this magazine 
helps bond us and create the sense 
of community that we need to 
remind us that we are a family. 

There is no doubt that even 
without new movies to share, the 
Star Wars family would still exist. 
However, we would be scattered 
around the galaxy with no idea 
how the rest of us were doing. 
With JVew7eJrniqLies we have once 
again gotten back our own 'new 
movies' to bring us together on a 
regular basis, and our community 
will flourish because of it. 

So sit back, relax and May the 
Force be With You! 

Mojo is an animator with 
Foundation Imaging. 

liNttltoUKS April 1997 

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